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"Judith Butler",
"Early life and education",
"Where did Butler study?",
"she attended both Hebrew school and special classes on Jewish ethics,",
"Where did she go to college?",
"Bennington College",
"When did she graduate from Bennington?",
"receiving her B.A. in 1978",
"Did she go on to graduate school?",
"then Yale University"
] |
C_d9b9c91dd063459692c2b13e18d4a5e6_1
|
When did she graduate from Yale?
| 5 |
When did Judith Butler graduate from Yale?
|
Judith Butler
|
Judith Butler was born in Cleveland, Ohio, to a family of Hungarian-Jewish and Russian-Jewish descent. Most of her maternal grandmother's family perished in the Holocaust. As a child and teenager, she attended both Hebrew school and special classes on Jewish ethics, where she received her "first training in philosophy". Butler stated in a 2010 interview with Haaretz that she began the ethics classes at the age of 14 and that they were created as a form of punishment by her Hebrew school's Rabbi because she was "too talkative in class". Butler also stated that she was "thrilled" by the idea of these tutorials, and when asked what she wanted to study in these special sessions, she responded with three questions preoccupying her at the time: "Why was Spinoza excommunicated from the synagogue? Could German Idealism be held accountable for Nazism? And how was one to understand existential theology, including the work of Martin Buber?" Butler attended Bennington College and then Yale University where she studied philosophy, receiving her B.A. in 1978 and her Ph.D. in 1984. She spent one academic year at Heidelberg University as a Fulbright-Scholar. She taught at Wesleyan University, George Washington University, and Johns Hopkins University before joining University of California, Berkeley, in 1993. In 2002 she held the Spinoza Chair of Philosophy at the University of Amsterdam. In addition, she joined the department of English and Comparative Literature at Columbia University as Wun Tsun Tam Mellon Visiting Professor of the Humanities in the spring semesters of 2012, 2013 and 2014 with the option of remaining as full-time faculty. Butler serves on the editorial board or advisory board of academic journals including JAC: A Journal of Rhetoric, Culture, and Politics and Signs: Journal of Women in Culture and Society. CANNOTANSWER
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her Ph.D. in 1984.
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Judith Pamela Butler (born February 24, 1956) is an American philosopher and gender theorist whose work has influenced political philosophy, ethics, and the fields of third-wave feminism, queer theory, and literary theory. In 1993, Butler began teaching at the University of California, Berkeley, where they have served, beginning in 1998, as the Maxine Elliot Professor in the Department of Comparative Literature and the Program of Critical Theory. They are also the Hannah Arendt Chair at the European Graduate School.
Butler is best known for their books Gender Trouble: Feminism and the Subversion of Identity (1990) and Bodies That Matter: On the Discursive Limits of Sex (1993), in which they challenge conventional notions of gender and develop their theory of gender performativity. This theory has had a major influence on feminist and queer scholarship. Their work is often studied and debated in film studies courses emphasizing gender studies and performativity in discourse.
Butler has supported lesbian and gay rights movements, and they have spoken out on many contemporary political issues, including criticism of Israeli politics.
Early life and education
Judith Butler was born on February 24, 1956, in Cleveland, Ohio, to a family of Hungarian-Jewish and Russian-Jewish descent. Most of their maternal grandmother's family perished in the Holocaust. Butler's parents were practicing Reform Jews. Their mother was raised Orthodox, eventually becoming Conservative and then Reform, while their father was raised Reform. As a child and teenager, Butler attended both Hebrew school and special classes on Jewish ethics, where they received their "first training in philosophy". Butler stated in a 2010 interview with Haaretz that they began the ethics classes at the age of 14 and that they were created as a form of punishment by Butler's Hebrew school's Rabbi because they were "too talkative in class". Butler also stated that they were "thrilled" by the idea of these tutorials, and when asked what they wanted to study in these special sessions, they responded with three questions preoccupying them at the time: "Why was Spinoza excommunicated from the synagogue? Could German Idealism be held accountable for Nazism? And how was one to understand existential theology, including the work of Martin Buber?"
Butler attended Bennington College before transferring to Yale University, where they studied philosophy and received a Bachelor of Arts in 1978 and a Doctor of Philosophy in 1984. They spent one academic year at Heidelberg University as a Fulbright Scholar. Butler taught at Wesleyan University, George Washington University, and Johns Hopkins University before joining University of California, Berkeley, in 1993. In 2002, they held the Spinoza Chair of Philosophy at the University of Amsterdam. In addition, they joined the department of English and Comparative Literature at Columbia University as Wun Tsun Tam Mellon Visiting Professor of the Humanities in the spring semesters of 2012, 2013 and 2014 with the option of remaining as full-time faculty.
Butler serves on the editorial board or advisory board of several academic journals, including Janus Unbound: Journal of Critical Studies, JAC: A Journal of Rhetoric, Culture, and Politics and Signs: Journal of Women in Culture and Society.
Overview of major works
Performative Acts and Gender Constitution (1988)
In the essay "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory" Judith Butler proposes that gender is performative. Because gender identity is established through behavior, there is a possibility to construct different genders via different behaviors.
Gender Trouble (1990)
Gender Trouble: Feminism and the Subversion of Identity was first published in 1990, selling over 100,000 copies internationally, in multiple languages. Gender Trouble discusses the works of Sigmund Freud, Simone de Beauvoir, Julia Kristeva, Jacques Lacan, Luce Irigaray, Monique Wittig, Jacques Derrida, and Michel Foucault.
Butler offers a critique of the terms gender and sex as they have been used by feminists. Butler argues that feminism made a mistake in trying to make "women" a discrete, ahistorical group with common characteristics. Butler writes that this approach reinforces the binary view of gender relations. Butler believes that feminists should not try to define "women" and they also believe that feminists should "focus on providing an account of how power functions and shapes our understandings of womanhood not only in the society at large but also within the feminist movement." Finally, Butler aims to break the supposed links between sex and gender so that gender and desire can be "flexible, free floating and not caused by other stable factors". The idea of identity as free and flexible and gender as a performance, not an essence, is one of the foundations of queer theory.
Imitation and Gender Insubordination (1991)
This is Butler's contribution to Inside/Out: Lesbian Theories, Gay Theories, a collection of the writings of gay and lesbian social theorists. Butler argues that no transparent revelation is afforded by the terms "gay" or "lesbian" yet there is a political imperative to do so. Butler employs "the concepts of play/performance, drag, and imitation to describe the formation of gender and sexuality as continually created subjectivities always at risk of dissolution from non-performance."
Bodies That Matter (1993)
Bodies That Matter: On the Discursive Limits of "Sex" seeks to clear up readings and supposed misreadings of performativity that view the enactment of sex/gender as a daily choice. Butler emphasizes the role of repetition in performativity, making use of Derrida's theory of iterability, which is a form of citationality:
Performativity cannot be understood outside of a process of iterability, a regularized and constrained repetition of norms. And this repetition is not performed by a subject; this repetition is what enables a subject and constitutes the temporal condition for the subject. This iterability implies that 'performance' is not a singular 'act' or event, but a ritualized production, a ritual reiterated under and through constraint, under and through the force of prohibition and taboo, with the threat of ostracism and even death controlling and compelling the shape of the production, but not, I will insist, determining it fully in advance.
Excitable Speech (1997)
In Excitable Speech: A Politics of the Performative, Butler surveys the problems of hate speech and censorship. They argue that censorship is difficult to evaluate, and that in some cases it may be useful or even necessary, while in others it may be worse than tolerance.
Butler argues that hate speech exists retrospectively, only after being declared such by state authorities. In this way, the state reserves for itself the power to define hate speech and, conversely, the limits of acceptable discourse. In this connection, Butler criticizes feminist legal scholar Catharine MacKinnon's argument against pornography for its unquestioning acceptance of the state's power to censor.
Deploying Foucault's argument from the first volume of The History of Sexuality, Butler claims that any attempt at censorship, legal or otherwise, necessarily propagates the very language it seeks to forbid. As Foucault argues, for example, the strict sexual mores of 19th-century Western Europe did nothing but amplify the discourse of sexuality they sought to control. Extending this argument using Derrida and Lacan, Butler claims that censorship is primitive to language, and that the linguistic "I" is a mere effect of an originary censorship. In this way, Butler questions the possibility of any genuinely oppositional discourse; "If speech depends upon censorship, then the principle that one might seek to oppose is at once the formative principle of oppositional speech".
Undoing Gender (2004)
Undoing Gender collects Butler's reflections on gender, sex, sexuality, psychoanalysis and the medical treatment of intersex people for a more general readership than many of their other books. Butler revisits and refines their notion of performativity and focuses on the question of undoing "restrictively normative conceptions of sexual and gendered life".
Butler discusses how gender is performed without one being conscious of it, but says that it does not mean this performativity is "automatic or mechanical". They argue that we have desires that do not originate from our personhood, but rather, from social norms. The writer also debates our notions of "human" and "less-than-human" and how these culturally imposed ideas can keep one from having a "viable life" as the biggest concerns are usually about whether a person will be accepted if their desires differ from normality. Butler states that one may feel the need of being recognized in order to live, but that at the same time, the conditions to be recognized make life "unlivable". The writer proposes an interrogation of such conditions so that people who resist them may have more possibilities of living.
In Butler's discussion of intersex issues and people, Butler addresses the case of David Reimer, a person whose sex was medically "reassigned" from male to female after a botched circumcision at eight months of age. Reimer was "made" female by doctors, but later in life identified as "really" male, married and became a stepfather to his wife's three children, and went on to tell his story in As Nature Made Him: The Boy Who Was Raised as a Girl, which he wrote with John Colapinto. Reimer died by suicide in 2004.
Giving an Account of Oneself (2005)
In Giving an Account of Oneself, Butler develops an ethics based on the opacity of the subject to itself; in other words, the limits of self-knowledge. Primarily borrowing from Theodor Adorno, Michel Foucault, Friedrich Nietzsche, Jean Laplanche, Adriana Cavarero and Emmanuel Levinas, Butler develops a theory of the formation of the subject. Butler theorizes the subject in relation to the social – a community of others and their norms – which is beyond the control of the subject it forms, as precisely the very condition of that subject's formation, the resources by which the subject becomes recognizably human, a grammatical "I", in the first place.
Butler accepts the claim that if the subject is opaque to itself the limitations of its free ethical responsibility and obligations are due to the limits of narrative, presuppositions of language and projection.
Instead Butler argues for an ethics based precisely on the limits of self-knowledge as the limits of responsibility itself. Any concept of responsibility which demands the full transparency of the self to itself, an entirely accountable self, necessarily does violence to the opacity which marks the constitution of the self it addresses. The scene of address by which responsibility is enabled is always already a relation between subjects who are variably opaque to themselves and to each other. The ethics that Butler envisions is therefore one in which the responsible self knows the limits of its knowing, recognizes the limits of its capacity to give an account of itself to others, and respects those limits as symptomatically human. To take seriously one's opacity to oneself in ethical deliberation means then to critically interrogate the social world in which one comes to be human in the first place and which remains precisely that which one cannot know about oneself. In this way, Butler locates social and political critique at the core of ethical practice.
Notes Toward a Performative Theory of Assembly (2015)
In Notes Toward a Performative Theory of Assembly, Butler discusses the power of public gatherings, considering what they signify and how they work. They use this framework to analyze the power and possibilities of protests, such as the Black Lives Matter protests regarding the deaths of Michael Brown and Eric Garner in 2014.
The Force of Nonviolence (2020)
In The Force of Nonviolence: An Ethico-Political Bind, Butler connects the ideologies of nonviolence and the political struggle for social equality. They review the traditional understanding of "nonviolence," stating that it "is often misunderstood as a passive practice that emanates from a calm region of the soul, or as an individualist ethical relation to existing forms of power." Instead of this understanding, Butler argues that "nonviolence is an ethical position found in the midst of the political field."
Reception
Butler's work has been influential in feminist and queer theory, cultural studies, and continental philosophy. Yet their contribution to a range of other disciplines—such as psychoanalysis, literary, film, and performance studies as well as visual arts—has also been significant. Their theory of gender performativity as well as their conception of "critically queer" have not only transformed understandings of gender and queer identity in the academic world, but have shaped and mobilized various kinds of political activism, particularly queer activism, across the globe. Butler's work has also entered into contemporary debates on the teaching of gender, gay parenting, and the depathologization of transgender people. Before election to the papacy, Pope Benedict XVI wrote several pages challenging Butler's arguments on gender. In several countries, Butler became the symbol of the destruction of traditional gender roles for reactionary movements. This was particularly the case in France during the anti-gay marriage protests. Bruno Perreau has written that Butler was literally depicted as an "antichrist", both because of their gender and their Jewish identity, the fear of minority politics and critical studies being expressed through fantasies of a corrupted body.
Some academics and political activists maintain that Butler's radical departure from the sex/gender dichotomy and Butler's non-essentialist conception of gender—along with their insistence that power helps form the subject—revolutionized feminist and queer praxis, thought, and studies. Darin Barney of McGill University wrote that:
In 1998, Denis Dutton's journal Philosophy and Literature awarded Butler first prize in its fourth annual "Bad Writing Competition", which set out to "celebrate bad writing from the most stylistically lamentable passages found in scholarly books and articles." Butler's unwitting entry, which ran in a 1997 issue of the scholarly journal Diacritics, ran thus:
Some critics have accused Butler of elitism due to their difficult prose style, while others claim that Butler reduces gender to "discourse" or promotes a form of gender voluntarism. Susan Bordo, for example, has argued that Butler reduces gender to language and has contended that the body is a major part of gender, in opposition to Butler's conception of gender as performative. A particularly vocal critic has been feminist Martha Nussbaum, who has argued that Butler misreads J. L. Austin's idea of performative utterance, makes erroneous legal claims, forecloses an essential site of resistance by repudiating pre-cultural agency, and provides no "normative theory of social justice and human dignity." Finally, Nancy Fraser's critique of Butler was part of a famous exchange between the two theorists. Fraser has suggested that Butler's focus on performativity distances them from "everyday ways of talking and thinking about ourselves. ... Why should we use such a self-distancing idiom?"
Butler responded to criticisms of their prose in the preface to the 1999 edition of their book, Gender Trouble.
More recently, several critics—most prominently, Viviane Namaste
—have criticised Judith Butler's Undoing Gender for under-emphasizing the intersectional aspects of gender-based violence. For example, Timothy Laurie notes that Butler's use of phrases like "gender politics" and "gender violence" in relation to assaults on transgender individuals in the United States can "[scour] a landscape filled with class and labour relations, racialised urban stratification, and complex interactions between sexual identity, sexual practices and sex work", and produce instead "a clean surface on which struggles over 'the human' are imagined to play out".
German feminist Alice Schwarzer speaks of Butler's "radical intellectual games" that would not change how society classifies and treats a woman; thus, by eliminating female and male identity Butler would have abolished the discourse about sexism in the queer community. Schwarzer also accuses Butler of remaining silent about the oppression of women and homosexuals in the Islamic world, while readily exercising their right to same-sex-marriage in the United States; instead, Butler would sweepingly defend Islam, including Islamism, from critics.
Political activism
Much of Butler's early political activism centered around queer and feminist issues, and they served, for a period of time, as the chair of the board of the International Gay and Lesbian Human Rights Commission. Over the years, Butler has been particularly active in the gay and lesbian rights, feminist, and anti-war movements. They have also written and spoken out on issues ranging from affirmative action and gay marriage to the wars in Iraq and Afghanistan, and the prisoners detained at Guantanamo Bay. More recently, Butler has been active in the Occupy movement and has publicly expressed support for a version of the 2005 BDS (Boycott, Divestment and Sanctions) campaign against Israel. They emphasize that Israel does not and should not be taken to represent all Jews or Jewish opinion.
On September 7, 2006, Butler participated in a faculty-organized teach-in against the 2006 Lebanon War at the University of California, Berkeley. Another widely publicized moment occurred in June 2010, when Butler refused the Civil Courage Award (Zivilcouragepreis) of the Christopher Street Day (CSD) Parade in Berlin, Germany at the award ceremony. They cited racist comments on the part of organizers and a general failure of CSD organizations to distance themselves from racism in general and from anti-Muslim excuses for war more specifically. Criticizing the event's commercialism, Butler went on to name several groups that they commended as stronger opponents of "homophobia, transphobia, sexism, racism, and militarism".
In October 2011, Butler attended Occupy Wall Street and, in reference to calls for clarification of the protesters' demands, they said:
People have asked, so what are the demands? What are the demands all of these people are making? Either they say there are no demands and that leaves your critics confused, or they say that the demands for social equality and economic justice are impossible demands. And the impossible demands, they say, are just not practical. If hope is an impossible demand, then we demand the impossible – that the right to shelter, food and employment are impossible demands, then we demand the impossible. If it is impossible to demand that those who profit from the recession redistribute their wealth and cease their greed, then yes, we demand the impossible.
Butler is an executive member of FFIPP – Educational Network for Human Rights in Israel/Palestine. They are also a member of the advisory board of Jewish Voice for Peace. In mainstream US politics, they expressed support for Hillary Clinton in the 2016 election.
Adorno Prize affair
When Butler received the 2012 Adorno Prize, the prize committee came under attack from Israel's Ambassador to Germany Yakov Hadas-Handelsman; the director of the Simon Wiesenthal Center's office in Jerusalem, Efraim Zuroff; and the German Central Council of Jews. They were upset at Butler's selection because of Butler's remarks about Israel and specifically Butler's "calls for a boycott against Israel". Butler responded saying that "[Butler] did not take attacks from German Jewish leaders personally". Rather, they wrote, the attacks are "directed against everyone who is critical against Israel and its current policies".
In a letter to the Mondoweiss website, Butler asserted that they developed strong ethical views on the basis of Jewish philosophical thought and that it is "blatantly untrue, absurd, and painful for anyone to argue that those who formulate a criticism of the State of Israel is anti-Semitic or, if Jewish, self-hating".
Comments on Hamas and Hezbollah
Butler was criticized for statements they had made about Hamas and Hezbollah. Butler was accused of describing them as "social movements that are progressive, that are on the Left, that are part of a global Left." They were accused of defending "Hezbollah and Hamas as progressive organizations" and supporting their tactics.
Butler responded to these criticisms by stating that their remarks on Hamas and Hezbollah were taken completely out of context and, in so doing, their established views on non-violence were contradicted and misrepresented. Butler describes the origin of their remarks on Hamas and Hezbollah in the following way:
I was asked by a member of an academic audience a few years ago whether I thought Hamas and Hezbollah belonged to "the global left" and I replied with two points. My first point was merely descriptive: those political organizations define themselves as anti-imperialist, and anti-imperialism is one characteristic of the global left, so on that basis one could describe them as part of the global left. My second point was then critical: as with any group on the left, one has to decide whether one is for that group or against that group, and one needs to critically evaluate their stand.
Comments on Black Lives Matter
In a January 2015 interview with George Yancy of The New York Times, Butler discussed the Black Lives Matter movement. They said:
What is implied by this statement [Black Lives Matter], a statement that should be obviously true, but apparently is not? If black lives do not matter, then they are not really regarded as lives, since a life is supposed to matter. So what we see is that some lives matter more than others, that some lives matter so much that they need to be protected at all costs, and that other lives matter less, or not at all. And when that becomes the situation, then the lives that do not matter so much, or do not matter at all, can be killed or lost, can be exposed to conditions of destitution, and there is no concern, or even worse, that is regarded as the way it is supposed to be...When people engage in concerted actions across racial lines to build communities based on equality, to defend the rights of those who are disproportionately imperiled to have a chance to live without the fear of dying quite suddenly at the hands of the police. There are many ways to do this, in the street, the office, the home, and in the media. Only through such an ever-growing cross-racial struggle against racism can we begin to achieve a sense of all the lives that really do matter.
The dialogue draws heavily on their 2004 book Precarious Life: The Powers of Mourning and Violence.
Avital Ronell sexual harassment case
On May 11, 2018, Butler led a group of scholars in writing a letter to New York University following the sexual harassment suit filed by a former NYU graduate student against his advisor Avital Ronell. The signatories acknowledged not having had access to the confidential findings of the investigation that followed the Title IX complaint against Ronell. Nonetheless, they accused the complainant of waging a "malicious campaign" against Ronell. The signatories also wrote that the presumed "malicious intention has animated and sustained this legal nightmare" for a highly regarded scholar. "If she were to be terminated or relieved of her duties, the injustice would be widely recognized and opposed." Butler, the chief signatory, invoked their title as President Elect of the Modern Language Association. James J. Marino, a professor at Cleveland State University and a member of the MLA, started a petition to demand Butler's resignation or removal from their post. He argued that "Protesting against one instance of punishment is only a means to the larger end of preserving senior faculty's privilege of impunity. ... [Butler] was standing up for an old, corrupt, and long-standing way of doing business. The time for doing business that way is over. We should never look back." Some three months later, Butler apologized to the MLA for the letter. "I acknowledged that I should not have allowed the MLA affiliation to go forward with my name," Butler wrote to the Chronicle of Higher Education. "I expressed regret to the MLA officers and staff, and my colleagues accepted my apology. I extend that same apology to MLA members."
Comments on the anti-gender movement and trans-exclusionary radical feminism
Butler said in 2020 that trans-exclusionary radical feminism is "a fringe movement that is seeking to speak in the name of the mainstream, and that our responsibility is to refuse to let that happen." In 2021 they described the anti-gender movements as fascist trends and cautioned self-declared feminists from allying with such movements in targeting trans, non-binary, and genderqueer people. Butler also explored the issue in a 2019 paper in which they argued that "the confusion of discourses is part of what constitutes the fascist structure and appeal of at least some of these [anti-gender] movements. One can oppose gender as a cultural import from the North at the same time that one can see that very opposition as a social movement against further colonization of the South. The result is not a turn to the Left, but an embrace of ethno-nationalism."
The Guardian interview
On September 7, 2021, The Guardian published an interview of Butler by Jules Gleeson that included Butler's critique of trans-exclusionary feminists ("gender critical feminists" or "TERFs"). In response to a question about the Wi Spa controversy, Butler stated that "The anti-gender ideology is one of the dominant strains of fascism in our times." Within a few hours of publication, three paragraphs including this statement were removed, with a note explaining "This article was edited on 7 September 2021 to reflect developments which occurred after the interview took place."
The Guardian was then accused of censoring Judith Butler for having compared TERFs to fascists. British writer Roz Kaveney called it "a truly shocking moment of bigoted dishonesty", while British transgender activist and writer Juno Dawson, among others, observed that The Guardian had inadvertently triggered the Streisand effect, in which an attempt to censor yields the unintended consequence of increasing awareness of a topic. The next day, The Guardian acknowledged "a failure in our editorial standards".
Personal life
Butler is a lesbian, legally non-binary, and goes by she or they pronouns, but said in 2020 that they prefer "they", and indicated that they were "never at home" with being assigned "female" at birth. They live in Berkeley with their partner Wendy Brown and son, Isaac.
Selected honors and awards
Butler has had a visiting appointment at Birkbeck, University of London (2009–).
1999: Guggenheim Fellowship
2007: Elected to the American Philosophical Society
2008: Mellon Award for their exemplary contributions to scholarship in the humanities
2010: "25 Visionaries Who Are Changing Your World", Utne Reader
2012: Theodor W. Adorno Award
2013: Doctorate of Letters, honoris causa, University of St. Andrews
2013: Doctorate of Letters, honoris causa, McGill University
2014: Doctorate of Letters, honoris causa, University of Fribourg
2014: Named one of PinkNews's top 11 Jewish gay and lesbian icons
2015: Elected as a Corresponding Fellow of the British Academy
2018: Doctorate of Letters, honoris causa, University of Belgrade
2018: Butler delivered the Gifford Lectures with their series entitled 'My Life, Your Life: Equality and the Philosophy of Non-Violence'
2019: Elected as Fellow to the American Academy of Arts and Sciences.
Publications
All of Butler's books have been translated into numerous languages; Gender Trouble, alone, has been translated into twenty-seven languages. In addition, they have co-authored and edited over a dozen volumes—the most recent of which is Dispossession: The Performative in the Political (2013), coauthored with Athena Athanasiou. Over the years Butler has also published many influential essays, interviews, and public presentations. Butler is considered by many as "one of the most influential voices in contemporary political theory," and as the most widely read and influential gender theorist in the world.
The following is a partial list of Butler's publications.
Books
[Their doctoral dissertation.]
Book chapters
A collection of essays on the work of Avital Ronell.
Details.
Notes
References
Further reading
Chambers, Samuel A. and Terrell Carver. 'Judith Butler and Political Theory: Troubling Politics. New York: Routledge, 2008.
Cheah, Pheng, "Mattering," Diacritics, Volume 26, Number 1, Spring 1996, pp. 108–139.
Kirby, Vicki. Judith Butler: Live Theory. London: Continuum, 2006.
Eldred, Michael, [http://www.arte-fact.org/mtphysfm.html 'Metaphysics of Feminism: A Critical Note on Judith Butler's Gender Trouble] 2008.
From the paper's abstract: In this paper we contribute to these [sexualization of culture] debates by presenting 'technologies of sexiness', a theoretical framework that draws on Foucauldian theorizing of technologies of the self and Butler's work on performativity.
Pdf. Considers performativity from a linguistic perspective.
Perreau, Bruno. Queer Theory: The French Response, Stanford, CA, Stanford University Press, 2016.
Salih, Sarah. The Judith Butler Reader. Malden, Massachusetts: Blackwell, 2004.
—. Routledge Critical Thinkers: Judith Butler. New York: Routledge, 2002.
Schippers, Birgit. The Political Philosophy of Judith Butler. New York: Routledge, 2014.
Thiem, Annika. Unbecoming Subjects: Judith Butler, Moral Philosophy, and Critical Responsibility. New York: Fordham University Press, 2008.
External links
Biography – University of California, Berkeley
approach the notion of affinity through a discussion of "Disruptive Kinship," co-sponsored by Villa Gillet and the School of Writing at The New School for Public Engagement.
Interview of Judith Butler about their new book "Frames of War" on New Statesman
Review of "Giving an Account of Oneself. Ethical Violence and Responsibility", by Judith Butler, Barcelona Metropolis Autumn 2010.
"Dictionary of Literary Biography on Judith P. Butler (page 3)"
Interview with Judith Butler about politics, economy, control societies, gender and identity (2011)
1956 births
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"Alice Rufie Jordan Blake (10 October 1864 - 29 November 1893) was the first female graduate of Yale University. After application and rejection from several other schools, she was able to enter Yale's law program after discovering that school regulations did not explicitly forbid female applicants.\n\nEarly life \nAlice Rufie Jordan was born in Norwalk, Ohio. After graduation from high school at the age of sixteen, she became the University of Michigan's youngest entrant to the literature program. At the age of 20, she entered the University of Michigan Law School, and before graduation passed the court test (an early type of bar exam) that enabled her to practice law in the state of Michigan.\n\nTime at Yale \nWanting to continue her studies, Jordan applied to Columbia Law School and Harvard Law School in 1885. After rejection from both male-only schools, she applied to Yale using her first initials. When she arrived to register, she faced opposition from the Corporation, but because the regulations did not explicitly prohibit female applicants, she was permitted to proceed with her studies. A year later, Blake graduated with a bachelor's of law in 1886 with the support of the faculty. While Blake was the first female graduate at Yale, she would remain as the only female law graduate until 1920. At the meeting with the Corporation where they approved the list of new law graduates, they noted that \"it is to be understood that the courses of instruction [throughout Yale] are open to persons of the male sex only, except where both sexes are specifically included.”\n\nMarriage and Death \nJordan married fellow lawyer George D. Blake in 1888, and moved to Seattle, Washington. She had been interviewed stating her desire to practice law even after her marriage. Jordan Blake died at the age of 29 in Chicago, Illinois in 1893.\n\nReferences \n\nYale University 1880s alumni\n1864 births\n1893 deaths\nMichigan lawyers\nUniversity of Michigan College of Literature, Science, and the Arts alumni\nPeople from Norwalk, Ohio\nUniversity of Michigan Law School alumni\n19th-century American lawyers\n19th-century American women lawyers\n19th-century women lawyers",
"Charlotte Cynthia Barnum (May 17, 1860 – March 27, 1934), mathematician and social activist, was the first woman to receive a Ph.D in mathematics from Yale University.\n\nEarly life and education \n\nCharlotte Barnum was born in Phillipston, Massachusetts, the third of four children of the Reverend Samuel Weed Barnum (1820–1891) and Charlotte Betts (1823–1899). Education was important in her family: two uncles had received medical degrees from Yale and her father had graduated from there with a Bachelor of Arts and a Bachelor of Divinity. Her brothers Samuel and Thomas would both graduate from Yale, and her sister Clara would attend Yale graduate school after graduating from Vassar.\n\nAfter graduating from Hillhouse High School in New Haven, Connecticut Charlotte attended Vassar College, where she graduated in 1881. From 1881 to 1886 she taught at a boys’ preparatory school, Betts Academy, in Stamford, Connecticut and at Hillhouse High School. She also did computing work for the Yale Observatory 1883–1885 and worked on a revision of James Dwight Dana’s System of Mineralogy. Charlotte was an editorial writer for Webster's International Dictionary from 1886 to 1890, and then taught astronomy at Smith College for the academic year 1889–90.\n\nIn 1890 Charlotte applied for graduate studies at Johns Hopkins University, but was turned down because they did not accept women. She persisted and with the support of Simon Newcomb, professor of mathematics and astronomy at the university, she won approval to attend lectures without enrollment and without charge. Two years later, she moved to New Haven to pursue her graduate studies at Yale. In 1895 she was the first woman to receive a Ph.D. in mathematics from that institution. Her thesis was titled \"Functions Having Lines or Surfaces of Discontinuity\". The identity of her adviser is unclear from the record.\n\nLater career \n\nAfter receiving her Ph.D., Charlotte Barnum taught at Carleton College in Northfield, Minnesota for one year. She then left academia, and did civilian and governmental applied mathematics and editorial work the remainder of her career.\n\nIn 1898 she joined the American Academy of Actuaries and until 1901 worked as an actuarial computer for the Massachusetts Mutual Life Insurance Company, Springfield, Massachusetts and the Fidelity Mutual Life Insurance Company in Philadelphia, Pennsylvania.\n\nIn 1901 she moved to Washington D.C. to work as a computer for US Naval Observatory. She subsequently did the same work for the tidal division of the US Coast and Geodetic Survey until 1908 and then was editorial assistant in the biological survey section of the US Department of Agriculture through 1913.\n\nShe left government employment and returned to New Haven in 1914 where she did editorial work for Yale Peruvian Expeditions, the Yale University secretary's office, and the Yale University Press.\n\nStarting in 1917 she worked in various organizations and academic institutions in Connecticut, New York and Massachusetts as an editor, actuary and teacher. All her life she was involved in social and charitable organizations and activities. In 1934 she died in Middletown, Connecticut of meningitis at the age of seventy-three.\n\nMemberships \n\nOne of the first women members of the American Mathematical Society\n\nFellow, American Academy of Actuaries (AAAS)\n\nFellow, American Association for the Advancement of Science\n\nAlumnae Member, Vassar College chapter of Phi Beta Kappa\n\nWomen's Joint Legislative Commission (for equal rights)\n\nNational Conference of Charities (now the National Conference on Social Welfare)\n\nPublications \n\n1911: “The Girl Who Lives at Home: Two Suggestions to Trade Union Women,” (Life and Labor, Volume 1, 1911) p. 346.\n\nReferences\n\nExternal links\n Charlotte and Clara Barnum Papers, Vassar College Archives and Special Collections Library\n Biography Center\n Vassar College Mathematics Department History\n \n Shelby L. Eaton: “Women in Mathematics in the United States: 1866–1900,” August 21, 1997\n Charlotte Barnum Purported image of Charlotte Barnum\n Mathematics Genealogy Project\n\n19th-century American mathematicians\n20th-century American mathematicians\nAmerican women mathematicians\nVassar College alumni\nYale University 1890s alumni\nSmith College faculty\n1860 births\n1934 deaths\n20th-century women mathematicians\n20th-century American women\n19th-century American women"
] |
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"Judith Butler",
"Early life and education",
"Where did Butler study?",
"she attended both Hebrew school and special classes on Jewish ethics,",
"Where did she go to college?",
"Bennington College",
"When did she graduate from Bennington?",
"receiving her B.A. in 1978",
"Did she go on to graduate school?",
"then Yale University",
"When did she graduate from Yale?",
"her Ph.D. in 1984."
] |
C_d9b9c91dd063459692c2b13e18d4a5e6_1
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Did she receive any achievements in school?
| 6 |
Did Judith Butler receive any achievements in school?
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Judith Butler
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Judith Butler was born in Cleveland, Ohio, to a family of Hungarian-Jewish and Russian-Jewish descent. Most of her maternal grandmother's family perished in the Holocaust. As a child and teenager, she attended both Hebrew school and special classes on Jewish ethics, where she received her "first training in philosophy". Butler stated in a 2010 interview with Haaretz that she began the ethics classes at the age of 14 and that they were created as a form of punishment by her Hebrew school's Rabbi because she was "too talkative in class". Butler also stated that she was "thrilled" by the idea of these tutorials, and when asked what she wanted to study in these special sessions, she responded with three questions preoccupying her at the time: "Why was Spinoza excommunicated from the synagogue? Could German Idealism be held accountable for Nazism? And how was one to understand existential theology, including the work of Martin Buber?" Butler attended Bennington College and then Yale University where she studied philosophy, receiving her B.A. in 1978 and her Ph.D. in 1984. She spent one academic year at Heidelberg University as a Fulbright-Scholar. She taught at Wesleyan University, George Washington University, and Johns Hopkins University before joining University of California, Berkeley, in 1993. In 2002 she held the Spinoza Chair of Philosophy at the University of Amsterdam. In addition, she joined the department of English and Comparative Literature at Columbia University as Wun Tsun Tam Mellon Visiting Professor of the Humanities in the spring semesters of 2012, 2013 and 2014 with the option of remaining as full-time faculty. Butler serves on the editorial board or advisory board of academic journals including JAC: A Journal of Rhetoric, Culture, and Politics and Signs: Journal of Women in Culture and Society. CANNOTANSWER
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She spent one academic year at Heidelberg University as a Fulbright-Scholar.
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Judith Pamela Butler (born February 24, 1956) is an American philosopher and gender theorist whose work has influenced political philosophy, ethics, and the fields of third-wave feminism, queer theory, and literary theory. In 1993, Butler began teaching at the University of California, Berkeley, where they have served, beginning in 1998, as the Maxine Elliot Professor in the Department of Comparative Literature and the Program of Critical Theory. They are also the Hannah Arendt Chair at the European Graduate School.
Butler is best known for their books Gender Trouble: Feminism and the Subversion of Identity (1990) and Bodies That Matter: On the Discursive Limits of Sex (1993), in which they challenge conventional notions of gender and develop their theory of gender performativity. This theory has had a major influence on feminist and queer scholarship. Their work is often studied and debated in film studies courses emphasizing gender studies and performativity in discourse.
Butler has supported lesbian and gay rights movements, and they have spoken out on many contemporary political issues, including criticism of Israeli politics.
Early life and education
Judith Butler was born on February 24, 1956, in Cleveland, Ohio, to a family of Hungarian-Jewish and Russian-Jewish descent. Most of their maternal grandmother's family perished in the Holocaust. Butler's parents were practicing Reform Jews. Their mother was raised Orthodox, eventually becoming Conservative and then Reform, while their father was raised Reform. As a child and teenager, Butler attended both Hebrew school and special classes on Jewish ethics, where they received their "first training in philosophy". Butler stated in a 2010 interview with Haaretz that they began the ethics classes at the age of 14 and that they were created as a form of punishment by Butler's Hebrew school's Rabbi because they were "too talkative in class". Butler also stated that they were "thrilled" by the idea of these tutorials, and when asked what they wanted to study in these special sessions, they responded with three questions preoccupying them at the time: "Why was Spinoza excommunicated from the synagogue? Could German Idealism be held accountable for Nazism? And how was one to understand existential theology, including the work of Martin Buber?"
Butler attended Bennington College before transferring to Yale University, where they studied philosophy and received a Bachelor of Arts in 1978 and a Doctor of Philosophy in 1984. They spent one academic year at Heidelberg University as a Fulbright Scholar. Butler taught at Wesleyan University, George Washington University, and Johns Hopkins University before joining University of California, Berkeley, in 1993. In 2002, they held the Spinoza Chair of Philosophy at the University of Amsterdam. In addition, they joined the department of English and Comparative Literature at Columbia University as Wun Tsun Tam Mellon Visiting Professor of the Humanities in the spring semesters of 2012, 2013 and 2014 with the option of remaining as full-time faculty.
Butler serves on the editorial board or advisory board of several academic journals, including Janus Unbound: Journal of Critical Studies, JAC: A Journal of Rhetoric, Culture, and Politics and Signs: Journal of Women in Culture and Society.
Overview of major works
Performative Acts and Gender Constitution (1988)
In the essay "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory" Judith Butler proposes that gender is performative. Because gender identity is established through behavior, there is a possibility to construct different genders via different behaviors.
Gender Trouble (1990)
Gender Trouble: Feminism and the Subversion of Identity was first published in 1990, selling over 100,000 copies internationally, in multiple languages. Gender Trouble discusses the works of Sigmund Freud, Simone de Beauvoir, Julia Kristeva, Jacques Lacan, Luce Irigaray, Monique Wittig, Jacques Derrida, and Michel Foucault.
Butler offers a critique of the terms gender and sex as they have been used by feminists. Butler argues that feminism made a mistake in trying to make "women" a discrete, ahistorical group with common characteristics. Butler writes that this approach reinforces the binary view of gender relations. Butler believes that feminists should not try to define "women" and they also believe that feminists should "focus on providing an account of how power functions and shapes our understandings of womanhood not only in the society at large but also within the feminist movement." Finally, Butler aims to break the supposed links between sex and gender so that gender and desire can be "flexible, free floating and not caused by other stable factors". The idea of identity as free and flexible and gender as a performance, not an essence, is one of the foundations of queer theory.
Imitation and Gender Insubordination (1991)
This is Butler's contribution to Inside/Out: Lesbian Theories, Gay Theories, a collection of the writings of gay and lesbian social theorists. Butler argues that no transparent revelation is afforded by the terms "gay" or "lesbian" yet there is a political imperative to do so. Butler employs "the concepts of play/performance, drag, and imitation to describe the formation of gender and sexuality as continually created subjectivities always at risk of dissolution from non-performance."
Bodies That Matter (1993)
Bodies That Matter: On the Discursive Limits of "Sex" seeks to clear up readings and supposed misreadings of performativity that view the enactment of sex/gender as a daily choice. Butler emphasizes the role of repetition in performativity, making use of Derrida's theory of iterability, which is a form of citationality:
Performativity cannot be understood outside of a process of iterability, a regularized and constrained repetition of norms. And this repetition is not performed by a subject; this repetition is what enables a subject and constitutes the temporal condition for the subject. This iterability implies that 'performance' is not a singular 'act' or event, but a ritualized production, a ritual reiterated under and through constraint, under and through the force of prohibition and taboo, with the threat of ostracism and even death controlling and compelling the shape of the production, but not, I will insist, determining it fully in advance.
Excitable Speech (1997)
In Excitable Speech: A Politics of the Performative, Butler surveys the problems of hate speech and censorship. They argue that censorship is difficult to evaluate, and that in some cases it may be useful or even necessary, while in others it may be worse than tolerance.
Butler argues that hate speech exists retrospectively, only after being declared such by state authorities. In this way, the state reserves for itself the power to define hate speech and, conversely, the limits of acceptable discourse. In this connection, Butler criticizes feminist legal scholar Catharine MacKinnon's argument against pornography for its unquestioning acceptance of the state's power to censor.
Deploying Foucault's argument from the first volume of The History of Sexuality, Butler claims that any attempt at censorship, legal or otherwise, necessarily propagates the very language it seeks to forbid. As Foucault argues, for example, the strict sexual mores of 19th-century Western Europe did nothing but amplify the discourse of sexuality they sought to control. Extending this argument using Derrida and Lacan, Butler claims that censorship is primitive to language, and that the linguistic "I" is a mere effect of an originary censorship. In this way, Butler questions the possibility of any genuinely oppositional discourse; "If speech depends upon censorship, then the principle that one might seek to oppose is at once the formative principle of oppositional speech".
Undoing Gender (2004)
Undoing Gender collects Butler's reflections on gender, sex, sexuality, psychoanalysis and the medical treatment of intersex people for a more general readership than many of their other books. Butler revisits and refines their notion of performativity and focuses on the question of undoing "restrictively normative conceptions of sexual and gendered life".
Butler discusses how gender is performed without one being conscious of it, but says that it does not mean this performativity is "automatic or mechanical". They argue that we have desires that do not originate from our personhood, but rather, from social norms. The writer also debates our notions of "human" and "less-than-human" and how these culturally imposed ideas can keep one from having a "viable life" as the biggest concerns are usually about whether a person will be accepted if their desires differ from normality. Butler states that one may feel the need of being recognized in order to live, but that at the same time, the conditions to be recognized make life "unlivable". The writer proposes an interrogation of such conditions so that people who resist them may have more possibilities of living.
In Butler's discussion of intersex issues and people, Butler addresses the case of David Reimer, a person whose sex was medically "reassigned" from male to female after a botched circumcision at eight months of age. Reimer was "made" female by doctors, but later in life identified as "really" male, married and became a stepfather to his wife's three children, and went on to tell his story in As Nature Made Him: The Boy Who Was Raised as a Girl, which he wrote with John Colapinto. Reimer died by suicide in 2004.
Giving an Account of Oneself (2005)
In Giving an Account of Oneself, Butler develops an ethics based on the opacity of the subject to itself; in other words, the limits of self-knowledge. Primarily borrowing from Theodor Adorno, Michel Foucault, Friedrich Nietzsche, Jean Laplanche, Adriana Cavarero and Emmanuel Levinas, Butler develops a theory of the formation of the subject. Butler theorizes the subject in relation to the social – a community of others and their norms – which is beyond the control of the subject it forms, as precisely the very condition of that subject's formation, the resources by which the subject becomes recognizably human, a grammatical "I", in the first place.
Butler accepts the claim that if the subject is opaque to itself the limitations of its free ethical responsibility and obligations are due to the limits of narrative, presuppositions of language and projection.
Instead Butler argues for an ethics based precisely on the limits of self-knowledge as the limits of responsibility itself. Any concept of responsibility which demands the full transparency of the self to itself, an entirely accountable self, necessarily does violence to the opacity which marks the constitution of the self it addresses. The scene of address by which responsibility is enabled is always already a relation between subjects who are variably opaque to themselves and to each other. The ethics that Butler envisions is therefore one in which the responsible self knows the limits of its knowing, recognizes the limits of its capacity to give an account of itself to others, and respects those limits as symptomatically human. To take seriously one's opacity to oneself in ethical deliberation means then to critically interrogate the social world in which one comes to be human in the first place and which remains precisely that which one cannot know about oneself. In this way, Butler locates social and political critique at the core of ethical practice.
Notes Toward a Performative Theory of Assembly (2015)
In Notes Toward a Performative Theory of Assembly, Butler discusses the power of public gatherings, considering what they signify and how they work. They use this framework to analyze the power and possibilities of protests, such as the Black Lives Matter protests regarding the deaths of Michael Brown and Eric Garner in 2014.
The Force of Nonviolence (2020)
In The Force of Nonviolence: An Ethico-Political Bind, Butler connects the ideologies of nonviolence and the political struggle for social equality. They review the traditional understanding of "nonviolence," stating that it "is often misunderstood as a passive practice that emanates from a calm region of the soul, or as an individualist ethical relation to existing forms of power." Instead of this understanding, Butler argues that "nonviolence is an ethical position found in the midst of the political field."
Reception
Butler's work has been influential in feminist and queer theory, cultural studies, and continental philosophy. Yet their contribution to a range of other disciplines—such as psychoanalysis, literary, film, and performance studies as well as visual arts—has also been significant. Their theory of gender performativity as well as their conception of "critically queer" have not only transformed understandings of gender and queer identity in the academic world, but have shaped and mobilized various kinds of political activism, particularly queer activism, across the globe. Butler's work has also entered into contemporary debates on the teaching of gender, gay parenting, and the depathologization of transgender people. Before election to the papacy, Pope Benedict XVI wrote several pages challenging Butler's arguments on gender. In several countries, Butler became the symbol of the destruction of traditional gender roles for reactionary movements. This was particularly the case in France during the anti-gay marriage protests. Bruno Perreau has written that Butler was literally depicted as an "antichrist", both because of their gender and their Jewish identity, the fear of minority politics and critical studies being expressed through fantasies of a corrupted body.
Some academics and political activists maintain that Butler's radical departure from the sex/gender dichotomy and Butler's non-essentialist conception of gender—along with their insistence that power helps form the subject—revolutionized feminist and queer praxis, thought, and studies. Darin Barney of McGill University wrote that:
In 1998, Denis Dutton's journal Philosophy and Literature awarded Butler first prize in its fourth annual "Bad Writing Competition", which set out to "celebrate bad writing from the most stylistically lamentable passages found in scholarly books and articles." Butler's unwitting entry, which ran in a 1997 issue of the scholarly journal Diacritics, ran thus:
Some critics have accused Butler of elitism due to their difficult prose style, while others claim that Butler reduces gender to "discourse" or promotes a form of gender voluntarism. Susan Bordo, for example, has argued that Butler reduces gender to language and has contended that the body is a major part of gender, in opposition to Butler's conception of gender as performative. A particularly vocal critic has been feminist Martha Nussbaum, who has argued that Butler misreads J. L. Austin's idea of performative utterance, makes erroneous legal claims, forecloses an essential site of resistance by repudiating pre-cultural agency, and provides no "normative theory of social justice and human dignity." Finally, Nancy Fraser's critique of Butler was part of a famous exchange between the two theorists. Fraser has suggested that Butler's focus on performativity distances them from "everyday ways of talking and thinking about ourselves. ... Why should we use such a self-distancing idiom?"
Butler responded to criticisms of their prose in the preface to the 1999 edition of their book, Gender Trouble.
More recently, several critics—most prominently, Viviane Namaste
—have criticised Judith Butler's Undoing Gender for under-emphasizing the intersectional aspects of gender-based violence. For example, Timothy Laurie notes that Butler's use of phrases like "gender politics" and "gender violence" in relation to assaults on transgender individuals in the United States can "[scour] a landscape filled with class and labour relations, racialised urban stratification, and complex interactions between sexual identity, sexual practices and sex work", and produce instead "a clean surface on which struggles over 'the human' are imagined to play out".
German feminist Alice Schwarzer speaks of Butler's "radical intellectual games" that would not change how society classifies and treats a woman; thus, by eliminating female and male identity Butler would have abolished the discourse about sexism in the queer community. Schwarzer also accuses Butler of remaining silent about the oppression of women and homosexuals in the Islamic world, while readily exercising their right to same-sex-marriage in the United States; instead, Butler would sweepingly defend Islam, including Islamism, from critics.
Political activism
Much of Butler's early political activism centered around queer and feminist issues, and they served, for a period of time, as the chair of the board of the International Gay and Lesbian Human Rights Commission. Over the years, Butler has been particularly active in the gay and lesbian rights, feminist, and anti-war movements. They have also written and spoken out on issues ranging from affirmative action and gay marriage to the wars in Iraq and Afghanistan, and the prisoners detained at Guantanamo Bay. More recently, Butler has been active in the Occupy movement and has publicly expressed support for a version of the 2005 BDS (Boycott, Divestment and Sanctions) campaign against Israel. They emphasize that Israel does not and should not be taken to represent all Jews or Jewish opinion.
On September 7, 2006, Butler participated in a faculty-organized teach-in against the 2006 Lebanon War at the University of California, Berkeley. Another widely publicized moment occurred in June 2010, when Butler refused the Civil Courage Award (Zivilcouragepreis) of the Christopher Street Day (CSD) Parade in Berlin, Germany at the award ceremony. They cited racist comments on the part of organizers and a general failure of CSD organizations to distance themselves from racism in general and from anti-Muslim excuses for war more specifically. Criticizing the event's commercialism, Butler went on to name several groups that they commended as stronger opponents of "homophobia, transphobia, sexism, racism, and militarism".
In October 2011, Butler attended Occupy Wall Street and, in reference to calls for clarification of the protesters' demands, they said:
People have asked, so what are the demands? What are the demands all of these people are making? Either they say there are no demands and that leaves your critics confused, or they say that the demands for social equality and economic justice are impossible demands. And the impossible demands, they say, are just not practical. If hope is an impossible demand, then we demand the impossible – that the right to shelter, food and employment are impossible demands, then we demand the impossible. If it is impossible to demand that those who profit from the recession redistribute their wealth and cease their greed, then yes, we demand the impossible.
Butler is an executive member of FFIPP – Educational Network for Human Rights in Israel/Palestine. They are also a member of the advisory board of Jewish Voice for Peace. In mainstream US politics, they expressed support for Hillary Clinton in the 2016 election.
Adorno Prize affair
When Butler received the 2012 Adorno Prize, the prize committee came under attack from Israel's Ambassador to Germany Yakov Hadas-Handelsman; the director of the Simon Wiesenthal Center's office in Jerusalem, Efraim Zuroff; and the German Central Council of Jews. They were upset at Butler's selection because of Butler's remarks about Israel and specifically Butler's "calls for a boycott against Israel". Butler responded saying that "[Butler] did not take attacks from German Jewish leaders personally". Rather, they wrote, the attacks are "directed against everyone who is critical against Israel and its current policies".
In a letter to the Mondoweiss website, Butler asserted that they developed strong ethical views on the basis of Jewish philosophical thought and that it is "blatantly untrue, absurd, and painful for anyone to argue that those who formulate a criticism of the State of Israel is anti-Semitic or, if Jewish, self-hating".
Comments on Hamas and Hezbollah
Butler was criticized for statements they had made about Hamas and Hezbollah. Butler was accused of describing them as "social movements that are progressive, that are on the Left, that are part of a global Left." They were accused of defending "Hezbollah and Hamas as progressive organizations" and supporting their tactics.
Butler responded to these criticisms by stating that their remarks on Hamas and Hezbollah were taken completely out of context and, in so doing, their established views on non-violence were contradicted and misrepresented. Butler describes the origin of their remarks on Hamas and Hezbollah in the following way:
I was asked by a member of an academic audience a few years ago whether I thought Hamas and Hezbollah belonged to "the global left" and I replied with two points. My first point was merely descriptive: those political organizations define themselves as anti-imperialist, and anti-imperialism is one characteristic of the global left, so on that basis one could describe them as part of the global left. My second point was then critical: as with any group on the left, one has to decide whether one is for that group or against that group, and one needs to critically evaluate their stand.
Comments on Black Lives Matter
In a January 2015 interview with George Yancy of The New York Times, Butler discussed the Black Lives Matter movement. They said:
What is implied by this statement [Black Lives Matter], a statement that should be obviously true, but apparently is not? If black lives do not matter, then they are not really regarded as lives, since a life is supposed to matter. So what we see is that some lives matter more than others, that some lives matter so much that they need to be protected at all costs, and that other lives matter less, or not at all. And when that becomes the situation, then the lives that do not matter so much, or do not matter at all, can be killed or lost, can be exposed to conditions of destitution, and there is no concern, or even worse, that is regarded as the way it is supposed to be...When people engage in concerted actions across racial lines to build communities based on equality, to defend the rights of those who are disproportionately imperiled to have a chance to live without the fear of dying quite suddenly at the hands of the police. There are many ways to do this, in the street, the office, the home, and in the media. Only through such an ever-growing cross-racial struggle against racism can we begin to achieve a sense of all the lives that really do matter.
The dialogue draws heavily on their 2004 book Precarious Life: The Powers of Mourning and Violence.
Avital Ronell sexual harassment case
On May 11, 2018, Butler led a group of scholars in writing a letter to New York University following the sexual harassment suit filed by a former NYU graduate student against his advisor Avital Ronell. The signatories acknowledged not having had access to the confidential findings of the investigation that followed the Title IX complaint against Ronell. Nonetheless, they accused the complainant of waging a "malicious campaign" against Ronell. The signatories also wrote that the presumed "malicious intention has animated and sustained this legal nightmare" for a highly regarded scholar. "If she were to be terminated or relieved of her duties, the injustice would be widely recognized and opposed." Butler, the chief signatory, invoked their title as President Elect of the Modern Language Association. James J. Marino, a professor at Cleveland State University and a member of the MLA, started a petition to demand Butler's resignation or removal from their post. He argued that "Protesting against one instance of punishment is only a means to the larger end of preserving senior faculty's privilege of impunity. ... [Butler] was standing up for an old, corrupt, and long-standing way of doing business. The time for doing business that way is over. We should never look back." Some three months later, Butler apologized to the MLA for the letter. "I acknowledged that I should not have allowed the MLA affiliation to go forward with my name," Butler wrote to the Chronicle of Higher Education. "I expressed regret to the MLA officers and staff, and my colleagues accepted my apology. I extend that same apology to MLA members."
Comments on the anti-gender movement and trans-exclusionary radical feminism
Butler said in 2020 that trans-exclusionary radical feminism is "a fringe movement that is seeking to speak in the name of the mainstream, and that our responsibility is to refuse to let that happen." In 2021 they described the anti-gender movements as fascist trends and cautioned self-declared feminists from allying with such movements in targeting trans, non-binary, and genderqueer people. Butler also explored the issue in a 2019 paper in which they argued that "the confusion of discourses is part of what constitutes the fascist structure and appeal of at least some of these [anti-gender] movements. One can oppose gender as a cultural import from the North at the same time that one can see that very opposition as a social movement against further colonization of the South. The result is not a turn to the Left, but an embrace of ethno-nationalism."
The Guardian interview
On September 7, 2021, The Guardian published an interview of Butler by Jules Gleeson that included Butler's critique of trans-exclusionary feminists ("gender critical feminists" or "TERFs"). In response to a question about the Wi Spa controversy, Butler stated that "The anti-gender ideology is one of the dominant strains of fascism in our times." Within a few hours of publication, three paragraphs including this statement were removed, with a note explaining "This article was edited on 7 September 2021 to reflect developments which occurred after the interview took place."
The Guardian was then accused of censoring Judith Butler for having compared TERFs to fascists. British writer Roz Kaveney called it "a truly shocking moment of bigoted dishonesty", while British transgender activist and writer Juno Dawson, among others, observed that The Guardian had inadvertently triggered the Streisand effect, in which an attempt to censor yields the unintended consequence of increasing awareness of a topic. The next day, The Guardian acknowledged "a failure in our editorial standards".
Personal life
Butler is a lesbian, legally non-binary, and goes by she or they pronouns, but said in 2020 that they prefer "they", and indicated that they were "never at home" with being assigned "female" at birth. They live in Berkeley with their partner Wendy Brown and son, Isaac.
Selected honors and awards
Butler has had a visiting appointment at Birkbeck, University of London (2009–).
1999: Guggenheim Fellowship
2007: Elected to the American Philosophical Society
2008: Mellon Award for their exemplary contributions to scholarship in the humanities
2010: "25 Visionaries Who Are Changing Your World", Utne Reader
2012: Theodor W. Adorno Award
2013: Doctorate of Letters, honoris causa, University of St. Andrews
2013: Doctorate of Letters, honoris causa, McGill University
2014: Doctorate of Letters, honoris causa, University of Fribourg
2014: Named one of PinkNews's top 11 Jewish gay and lesbian icons
2015: Elected as a Corresponding Fellow of the British Academy
2018: Doctorate of Letters, honoris causa, University of Belgrade
2018: Butler delivered the Gifford Lectures with their series entitled 'My Life, Your Life: Equality and the Philosophy of Non-Violence'
2019: Elected as Fellow to the American Academy of Arts and Sciences.
Publications
All of Butler's books have been translated into numerous languages; Gender Trouble, alone, has been translated into twenty-seven languages. In addition, they have co-authored and edited over a dozen volumes—the most recent of which is Dispossession: The Performative in the Political (2013), coauthored with Athena Athanasiou. Over the years Butler has also published many influential essays, interviews, and public presentations. Butler is considered by many as "one of the most influential voices in contemporary political theory," and as the most widely read and influential gender theorist in the world.
The following is a partial list of Butler's publications.
Books
[Their doctoral dissertation.]
Book chapters
A collection of essays on the work of Avital Ronell.
Details.
Notes
References
Further reading
Chambers, Samuel A. and Terrell Carver. 'Judith Butler and Political Theory: Troubling Politics. New York: Routledge, 2008.
Cheah, Pheng, "Mattering," Diacritics, Volume 26, Number 1, Spring 1996, pp. 108–139.
Kirby, Vicki. Judith Butler: Live Theory. London: Continuum, 2006.
Eldred, Michael, [http://www.arte-fact.org/mtphysfm.html 'Metaphysics of Feminism: A Critical Note on Judith Butler's Gender Trouble] 2008.
From the paper's abstract: In this paper we contribute to these [sexualization of culture] debates by presenting 'technologies of sexiness', a theoretical framework that draws on Foucauldian theorizing of technologies of the self and Butler's work on performativity.
Pdf. Considers performativity from a linguistic perspective.
Perreau, Bruno. Queer Theory: The French Response, Stanford, CA, Stanford University Press, 2016.
Salih, Sarah. The Judith Butler Reader. Malden, Massachusetts: Blackwell, 2004.
—. Routledge Critical Thinkers: Judith Butler. New York: Routledge, 2002.
Schippers, Birgit. The Political Philosophy of Judith Butler. New York: Routledge, 2014.
Thiem, Annika. Unbecoming Subjects: Judith Butler, Moral Philosophy, and Critical Responsibility. New York: Fordham University Press, 2008.
External links
Biography – University of California, Berkeley
approach the notion of affinity through a discussion of "Disruptive Kinship," co-sponsored by Villa Gillet and the School of Writing at The New School for Public Engagement.
Interview of Judith Butler about their new book "Frames of War" on New Statesman
Review of "Giving an Account of Oneself. Ethical Violence and Responsibility", by Judith Butler, Barcelona Metropolis Autumn 2010.
"Dictionary of Literary Biography on Judith P. Butler (page 3)"
Interview with Judith Butler about politics, economy, control societies, gender and identity (2011)
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[
"Lin Fangling (; born 25 February 2001) is a female Chinese badminton player. Lin started to play badminton from the young age of 5 & went to Shanghai Sports School aged 9 to receive advanced training. With her various achievements at the junior level, she was selected in the Shanghai Badminton Team in 2013 & afterwards in National team in 2017. She won 2 gold medals in 2019 World junior championships, one in girls' doubles & another in mixed doubles. She was also the silver medalist in the same year's Asian junior championships in mixed doubles category.\n\nAchievements\n\nWorld Junior Championships \nMixed doubles\n\nGirls' doubles\n\nAsian Junior Championships \nMixed doubles\n\nGirls' doubles\n\nBWF Junior International (2 titles, 3 runners-up) \nMixed doubles\n\nGirls' doubles\n\n BWF Junior International Grand Prix tournament\n BWF Junior International Challenge tournament\n BWF Junior International Series tournament\n BWF Junior Future Series tournament\n\nReferences\n\nExternal links \n\n2001 births\nLiving people\nBadminton players from Hainan\nChinese female badminton players",
"Krishna Yadav is an Indian entrepreneur. She is known for her successful pickle business venture, which she started after receiving training from Krishi Vigyan Kendra in Delhi. Over several years she sold pickles at the roadside and gradually turned her venture into four different entities with a turnover of 40 million INR. She was awarded the Nari Shakti Puraskar in 2016.\n\nLife\nYadav did not attend school and lacks any formal education. She grew up picking crops and when her husband's car business failed, they had to sell their house in Bulandshahr. She decided that they should move to Delhi and borrowed money so her husband could travel ahead and find work. After spending three months, her husband did not find a luck. In such a situation, Yadav decided to join her husband in Delhi and she moved with their three children. After settling at Delhi, they did some vegetable farming but found it difficult to sell. Then she heard about pickles and its prospect as a business but she knew that she would need training for undertaking a pickle business. She attended training at the Krishi Vigyan Kendra in Ujwa village, Delhi.\n\nIn 2002 Yadav started to produce pickles. Initially for not being a known brand, she could not arrange to sell them in grocery shops, so her husband sold them at the side of the road, while she used to produce them along with her children. By 2013, she was selling over 150 varieties of pickles and in 2016 she was reported to be selling 200 tonnes of food products. Her efforts have generated jobs in rural areas. She and her husband GS Yadav have opened a shop in Najafgarh. She reportedly have four different business ventures and her annual turnover was reported to be 40 million INR.\n\nIn 2016, Yadav was nominated to receive the Nari Shakti Puraskar on International Women's Day by the Ministry of Women and Child Development. The award was handed over by President Pranab Mukherjee at the Presidential palace in New Delhi. Another fourteen women and seven institutions were also honored for their achievements and contributions on the same day.\n\nReferences \n\nLiving people\nIndian businesspeople\nPeople from Delhi\nNari Shakti Puraskar winners\nPeople from Bulandshahr\nYear of birth missing (living people)"
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"Judith Butler",
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"Where did Butler study?",
"she attended both Hebrew school and special classes on Jewish ethics,",
"Where did she go to college?",
"Bennington College",
"When did she graduate from Bennington?",
"receiving her B.A. in 1978",
"Did she go on to graduate school?",
"then Yale University",
"When did she graduate from Yale?",
"her Ph.D. in 1984.",
"Did she receive any achievements in school?",
"She spent one academic year at Heidelberg University as a Fulbright-Scholar."
] |
C_d9b9c91dd063459692c2b13e18d4a5e6_1
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What else did she do during this time?
| 7 |
Besides the academic year at Heidelberg University, what else did Judith Butler do during the 70's?
|
Judith Butler
|
Judith Butler was born in Cleveland, Ohio, to a family of Hungarian-Jewish and Russian-Jewish descent. Most of her maternal grandmother's family perished in the Holocaust. As a child and teenager, she attended both Hebrew school and special classes on Jewish ethics, where she received her "first training in philosophy". Butler stated in a 2010 interview with Haaretz that she began the ethics classes at the age of 14 and that they were created as a form of punishment by her Hebrew school's Rabbi because she was "too talkative in class". Butler also stated that she was "thrilled" by the idea of these tutorials, and when asked what she wanted to study in these special sessions, she responded with three questions preoccupying her at the time: "Why was Spinoza excommunicated from the synagogue? Could German Idealism be held accountable for Nazism? And how was one to understand existential theology, including the work of Martin Buber?" Butler attended Bennington College and then Yale University where she studied philosophy, receiving her B.A. in 1978 and her Ph.D. in 1984. She spent one academic year at Heidelberg University as a Fulbright-Scholar. She taught at Wesleyan University, George Washington University, and Johns Hopkins University before joining University of California, Berkeley, in 1993. In 2002 she held the Spinoza Chair of Philosophy at the University of Amsterdam. In addition, she joined the department of English and Comparative Literature at Columbia University as Wun Tsun Tam Mellon Visiting Professor of the Humanities in the spring semesters of 2012, 2013 and 2014 with the option of remaining as full-time faculty. Butler serves on the editorial board or advisory board of academic journals including JAC: A Journal of Rhetoric, Culture, and Politics and Signs: Journal of Women in Culture and Society. CANNOTANSWER
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She taught at Wesleyan University, George Washington University, and Johns Hopkins University
|
Judith Pamela Butler (born February 24, 1956) is an American philosopher and gender theorist whose work has influenced political philosophy, ethics, and the fields of third-wave feminism, queer theory, and literary theory. In 1993, Butler began teaching at the University of California, Berkeley, where they have served, beginning in 1998, as the Maxine Elliot Professor in the Department of Comparative Literature and the Program of Critical Theory. They are also the Hannah Arendt Chair at the European Graduate School.
Butler is best known for their books Gender Trouble: Feminism and the Subversion of Identity (1990) and Bodies That Matter: On the Discursive Limits of Sex (1993), in which they challenge conventional notions of gender and develop their theory of gender performativity. This theory has had a major influence on feminist and queer scholarship. Their work is often studied and debated in film studies courses emphasizing gender studies and performativity in discourse.
Butler has supported lesbian and gay rights movements, and they have spoken out on many contemporary political issues, including criticism of Israeli politics.
Early life and education
Judith Butler was born on February 24, 1956, in Cleveland, Ohio, to a family of Hungarian-Jewish and Russian-Jewish descent. Most of their maternal grandmother's family perished in the Holocaust. Butler's parents were practicing Reform Jews. Their mother was raised Orthodox, eventually becoming Conservative and then Reform, while their father was raised Reform. As a child and teenager, Butler attended both Hebrew school and special classes on Jewish ethics, where they received their "first training in philosophy". Butler stated in a 2010 interview with Haaretz that they began the ethics classes at the age of 14 and that they were created as a form of punishment by Butler's Hebrew school's Rabbi because they were "too talkative in class". Butler also stated that they were "thrilled" by the idea of these tutorials, and when asked what they wanted to study in these special sessions, they responded with three questions preoccupying them at the time: "Why was Spinoza excommunicated from the synagogue? Could German Idealism be held accountable for Nazism? And how was one to understand existential theology, including the work of Martin Buber?"
Butler attended Bennington College before transferring to Yale University, where they studied philosophy and received a Bachelor of Arts in 1978 and a Doctor of Philosophy in 1984. They spent one academic year at Heidelberg University as a Fulbright Scholar. Butler taught at Wesleyan University, George Washington University, and Johns Hopkins University before joining University of California, Berkeley, in 1993. In 2002, they held the Spinoza Chair of Philosophy at the University of Amsterdam. In addition, they joined the department of English and Comparative Literature at Columbia University as Wun Tsun Tam Mellon Visiting Professor of the Humanities in the spring semesters of 2012, 2013 and 2014 with the option of remaining as full-time faculty.
Butler serves on the editorial board or advisory board of several academic journals, including Janus Unbound: Journal of Critical Studies, JAC: A Journal of Rhetoric, Culture, and Politics and Signs: Journal of Women in Culture and Society.
Overview of major works
Performative Acts and Gender Constitution (1988)
In the essay "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory" Judith Butler proposes that gender is performative. Because gender identity is established through behavior, there is a possibility to construct different genders via different behaviors.
Gender Trouble (1990)
Gender Trouble: Feminism and the Subversion of Identity was first published in 1990, selling over 100,000 copies internationally, in multiple languages. Gender Trouble discusses the works of Sigmund Freud, Simone de Beauvoir, Julia Kristeva, Jacques Lacan, Luce Irigaray, Monique Wittig, Jacques Derrida, and Michel Foucault.
Butler offers a critique of the terms gender and sex as they have been used by feminists. Butler argues that feminism made a mistake in trying to make "women" a discrete, ahistorical group with common characteristics. Butler writes that this approach reinforces the binary view of gender relations. Butler believes that feminists should not try to define "women" and they also believe that feminists should "focus on providing an account of how power functions and shapes our understandings of womanhood not only in the society at large but also within the feminist movement." Finally, Butler aims to break the supposed links between sex and gender so that gender and desire can be "flexible, free floating and not caused by other stable factors". The idea of identity as free and flexible and gender as a performance, not an essence, is one of the foundations of queer theory.
Imitation and Gender Insubordination (1991)
This is Butler's contribution to Inside/Out: Lesbian Theories, Gay Theories, a collection of the writings of gay and lesbian social theorists. Butler argues that no transparent revelation is afforded by the terms "gay" or "lesbian" yet there is a political imperative to do so. Butler employs "the concepts of play/performance, drag, and imitation to describe the formation of gender and sexuality as continually created subjectivities always at risk of dissolution from non-performance."
Bodies That Matter (1993)
Bodies That Matter: On the Discursive Limits of "Sex" seeks to clear up readings and supposed misreadings of performativity that view the enactment of sex/gender as a daily choice. Butler emphasizes the role of repetition in performativity, making use of Derrida's theory of iterability, which is a form of citationality:
Performativity cannot be understood outside of a process of iterability, a regularized and constrained repetition of norms. And this repetition is not performed by a subject; this repetition is what enables a subject and constitutes the temporal condition for the subject. This iterability implies that 'performance' is not a singular 'act' or event, but a ritualized production, a ritual reiterated under and through constraint, under and through the force of prohibition and taboo, with the threat of ostracism and even death controlling and compelling the shape of the production, but not, I will insist, determining it fully in advance.
Excitable Speech (1997)
In Excitable Speech: A Politics of the Performative, Butler surveys the problems of hate speech and censorship. They argue that censorship is difficult to evaluate, and that in some cases it may be useful or even necessary, while in others it may be worse than tolerance.
Butler argues that hate speech exists retrospectively, only after being declared such by state authorities. In this way, the state reserves for itself the power to define hate speech and, conversely, the limits of acceptable discourse. In this connection, Butler criticizes feminist legal scholar Catharine MacKinnon's argument against pornography for its unquestioning acceptance of the state's power to censor.
Deploying Foucault's argument from the first volume of The History of Sexuality, Butler claims that any attempt at censorship, legal or otherwise, necessarily propagates the very language it seeks to forbid. As Foucault argues, for example, the strict sexual mores of 19th-century Western Europe did nothing but amplify the discourse of sexuality they sought to control. Extending this argument using Derrida and Lacan, Butler claims that censorship is primitive to language, and that the linguistic "I" is a mere effect of an originary censorship. In this way, Butler questions the possibility of any genuinely oppositional discourse; "If speech depends upon censorship, then the principle that one might seek to oppose is at once the formative principle of oppositional speech".
Undoing Gender (2004)
Undoing Gender collects Butler's reflections on gender, sex, sexuality, psychoanalysis and the medical treatment of intersex people for a more general readership than many of their other books. Butler revisits and refines their notion of performativity and focuses on the question of undoing "restrictively normative conceptions of sexual and gendered life".
Butler discusses how gender is performed without one being conscious of it, but says that it does not mean this performativity is "automatic or mechanical". They argue that we have desires that do not originate from our personhood, but rather, from social norms. The writer also debates our notions of "human" and "less-than-human" and how these culturally imposed ideas can keep one from having a "viable life" as the biggest concerns are usually about whether a person will be accepted if their desires differ from normality. Butler states that one may feel the need of being recognized in order to live, but that at the same time, the conditions to be recognized make life "unlivable". The writer proposes an interrogation of such conditions so that people who resist them may have more possibilities of living.
In Butler's discussion of intersex issues and people, Butler addresses the case of David Reimer, a person whose sex was medically "reassigned" from male to female after a botched circumcision at eight months of age. Reimer was "made" female by doctors, but later in life identified as "really" male, married and became a stepfather to his wife's three children, and went on to tell his story in As Nature Made Him: The Boy Who Was Raised as a Girl, which he wrote with John Colapinto. Reimer died by suicide in 2004.
Giving an Account of Oneself (2005)
In Giving an Account of Oneself, Butler develops an ethics based on the opacity of the subject to itself; in other words, the limits of self-knowledge. Primarily borrowing from Theodor Adorno, Michel Foucault, Friedrich Nietzsche, Jean Laplanche, Adriana Cavarero and Emmanuel Levinas, Butler develops a theory of the formation of the subject. Butler theorizes the subject in relation to the social – a community of others and their norms – which is beyond the control of the subject it forms, as precisely the very condition of that subject's formation, the resources by which the subject becomes recognizably human, a grammatical "I", in the first place.
Butler accepts the claim that if the subject is opaque to itself the limitations of its free ethical responsibility and obligations are due to the limits of narrative, presuppositions of language and projection.
Instead Butler argues for an ethics based precisely on the limits of self-knowledge as the limits of responsibility itself. Any concept of responsibility which demands the full transparency of the self to itself, an entirely accountable self, necessarily does violence to the opacity which marks the constitution of the self it addresses. The scene of address by which responsibility is enabled is always already a relation between subjects who are variably opaque to themselves and to each other. The ethics that Butler envisions is therefore one in which the responsible self knows the limits of its knowing, recognizes the limits of its capacity to give an account of itself to others, and respects those limits as symptomatically human. To take seriously one's opacity to oneself in ethical deliberation means then to critically interrogate the social world in which one comes to be human in the first place and which remains precisely that which one cannot know about oneself. In this way, Butler locates social and political critique at the core of ethical practice.
Notes Toward a Performative Theory of Assembly (2015)
In Notes Toward a Performative Theory of Assembly, Butler discusses the power of public gatherings, considering what they signify and how they work. They use this framework to analyze the power and possibilities of protests, such as the Black Lives Matter protests regarding the deaths of Michael Brown and Eric Garner in 2014.
The Force of Nonviolence (2020)
In The Force of Nonviolence: An Ethico-Political Bind, Butler connects the ideologies of nonviolence and the political struggle for social equality. They review the traditional understanding of "nonviolence," stating that it "is often misunderstood as a passive practice that emanates from a calm region of the soul, or as an individualist ethical relation to existing forms of power." Instead of this understanding, Butler argues that "nonviolence is an ethical position found in the midst of the political field."
Reception
Butler's work has been influential in feminist and queer theory, cultural studies, and continental philosophy. Yet their contribution to a range of other disciplines—such as psychoanalysis, literary, film, and performance studies as well as visual arts—has also been significant. Their theory of gender performativity as well as their conception of "critically queer" have not only transformed understandings of gender and queer identity in the academic world, but have shaped and mobilized various kinds of political activism, particularly queer activism, across the globe. Butler's work has also entered into contemporary debates on the teaching of gender, gay parenting, and the depathologization of transgender people. Before election to the papacy, Pope Benedict XVI wrote several pages challenging Butler's arguments on gender. In several countries, Butler became the symbol of the destruction of traditional gender roles for reactionary movements. This was particularly the case in France during the anti-gay marriage protests. Bruno Perreau has written that Butler was literally depicted as an "antichrist", both because of their gender and their Jewish identity, the fear of minority politics and critical studies being expressed through fantasies of a corrupted body.
Some academics and political activists maintain that Butler's radical departure from the sex/gender dichotomy and Butler's non-essentialist conception of gender—along with their insistence that power helps form the subject—revolutionized feminist and queer praxis, thought, and studies. Darin Barney of McGill University wrote that:
In 1998, Denis Dutton's journal Philosophy and Literature awarded Butler first prize in its fourth annual "Bad Writing Competition", which set out to "celebrate bad writing from the most stylistically lamentable passages found in scholarly books and articles." Butler's unwitting entry, which ran in a 1997 issue of the scholarly journal Diacritics, ran thus:
Some critics have accused Butler of elitism due to their difficult prose style, while others claim that Butler reduces gender to "discourse" or promotes a form of gender voluntarism. Susan Bordo, for example, has argued that Butler reduces gender to language and has contended that the body is a major part of gender, in opposition to Butler's conception of gender as performative. A particularly vocal critic has been feminist Martha Nussbaum, who has argued that Butler misreads J. L. Austin's idea of performative utterance, makes erroneous legal claims, forecloses an essential site of resistance by repudiating pre-cultural agency, and provides no "normative theory of social justice and human dignity." Finally, Nancy Fraser's critique of Butler was part of a famous exchange between the two theorists. Fraser has suggested that Butler's focus on performativity distances them from "everyday ways of talking and thinking about ourselves. ... Why should we use such a self-distancing idiom?"
Butler responded to criticisms of their prose in the preface to the 1999 edition of their book, Gender Trouble.
More recently, several critics—most prominently, Viviane Namaste
—have criticised Judith Butler's Undoing Gender for under-emphasizing the intersectional aspects of gender-based violence. For example, Timothy Laurie notes that Butler's use of phrases like "gender politics" and "gender violence" in relation to assaults on transgender individuals in the United States can "[scour] a landscape filled with class and labour relations, racialised urban stratification, and complex interactions between sexual identity, sexual practices and sex work", and produce instead "a clean surface on which struggles over 'the human' are imagined to play out".
German feminist Alice Schwarzer speaks of Butler's "radical intellectual games" that would not change how society classifies and treats a woman; thus, by eliminating female and male identity Butler would have abolished the discourse about sexism in the queer community. Schwarzer also accuses Butler of remaining silent about the oppression of women and homosexuals in the Islamic world, while readily exercising their right to same-sex-marriage in the United States; instead, Butler would sweepingly defend Islam, including Islamism, from critics.
Political activism
Much of Butler's early political activism centered around queer and feminist issues, and they served, for a period of time, as the chair of the board of the International Gay and Lesbian Human Rights Commission. Over the years, Butler has been particularly active in the gay and lesbian rights, feminist, and anti-war movements. They have also written and spoken out on issues ranging from affirmative action and gay marriage to the wars in Iraq and Afghanistan, and the prisoners detained at Guantanamo Bay. More recently, Butler has been active in the Occupy movement and has publicly expressed support for a version of the 2005 BDS (Boycott, Divestment and Sanctions) campaign against Israel. They emphasize that Israel does not and should not be taken to represent all Jews or Jewish opinion.
On September 7, 2006, Butler participated in a faculty-organized teach-in against the 2006 Lebanon War at the University of California, Berkeley. Another widely publicized moment occurred in June 2010, when Butler refused the Civil Courage Award (Zivilcouragepreis) of the Christopher Street Day (CSD) Parade in Berlin, Germany at the award ceremony. They cited racist comments on the part of organizers and a general failure of CSD organizations to distance themselves from racism in general and from anti-Muslim excuses for war more specifically. Criticizing the event's commercialism, Butler went on to name several groups that they commended as stronger opponents of "homophobia, transphobia, sexism, racism, and militarism".
In October 2011, Butler attended Occupy Wall Street and, in reference to calls for clarification of the protesters' demands, they said:
People have asked, so what are the demands? What are the demands all of these people are making? Either they say there are no demands and that leaves your critics confused, or they say that the demands for social equality and economic justice are impossible demands. And the impossible demands, they say, are just not practical. If hope is an impossible demand, then we demand the impossible – that the right to shelter, food and employment are impossible demands, then we demand the impossible. If it is impossible to demand that those who profit from the recession redistribute their wealth and cease their greed, then yes, we demand the impossible.
Butler is an executive member of FFIPP – Educational Network for Human Rights in Israel/Palestine. They are also a member of the advisory board of Jewish Voice for Peace. In mainstream US politics, they expressed support for Hillary Clinton in the 2016 election.
Adorno Prize affair
When Butler received the 2012 Adorno Prize, the prize committee came under attack from Israel's Ambassador to Germany Yakov Hadas-Handelsman; the director of the Simon Wiesenthal Center's office in Jerusalem, Efraim Zuroff; and the German Central Council of Jews. They were upset at Butler's selection because of Butler's remarks about Israel and specifically Butler's "calls for a boycott against Israel". Butler responded saying that "[Butler] did not take attacks from German Jewish leaders personally". Rather, they wrote, the attacks are "directed against everyone who is critical against Israel and its current policies".
In a letter to the Mondoweiss website, Butler asserted that they developed strong ethical views on the basis of Jewish philosophical thought and that it is "blatantly untrue, absurd, and painful for anyone to argue that those who formulate a criticism of the State of Israel is anti-Semitic or, if Jewish, self-hating".
Comments on Hamas and Hezbollah
Butler was criticized for statements they had made about Hamas and Hezbollah. Butler was accused of describing them as "social movements that are progressive, that are on the Left, that are part of a global Left." They were accused of defending "Hezbollah and Hamas as progressive organizations" and supporting their tactics.
Butler responded to these criticisms by stating that their remarks on Hamas and Hezbollah were taken completely out of context and, in so doing, their established views on non-violence were contradicted and misrepresented. Butler describes the origin of their remarks on Hamas and Hezbollah in the following way:
I was asked by a member of an academic audience a few years ago whether I thought Hamas and Hezbollah belonged to "the global left" and I replied with two points. My first point was merely descriptive: those political organizations define themselves as anti-imperialist, and anti-imperialism is one characteristic of the global left, so on that basis one could describe them as part of the global left. My second point was then critical: as with any group on the left, one has to decide whether one is for that group or against that group, and one needs to critically evaluate their stand.
Comments on Black Lives Matter
In a January 2015 interview with George Yancy of The New York Times, Butler discussed the Black Lives Matter movement. They said:
What is implied by this statement [Black Lives Matter], a statement that should be obviously true, but apparently is not? If black lives do not matter, then they are not really regarded as lives, since a life is supposed to matter. So what we see is that some lives matter more than others, that some lives matter so much that they need to be protected at all costs, and that other lives matter less, or not at all. And when that becomes the situation, then the lives that do not matter so much, or do not matter at all, can be killed or lost, can be exposed to conditions of destitution, and there is no concern, or even worse, that is regarded as the way it is supposed to be...When people engage in concerted actions across racial lines to build communities based on equality, to defend the rights of those who are disproportionately imperiled to have a chance to live without the fear of dying quite suddenly at the hands of the police. There are many ways to do this, in the street, the office, the home, and in the media. Only through such an ever-growing cross-racial struggle against racism can we begin to achieve a sense of all the lives that really do matter.
The dialogue draws heavily on their 2004 book Precarious Life: The Powers of Mourning and Violence.
Avital Ronell sexual harassment case
On May 11, 2018, Butler led a group of scholars in writing a letter to New York University following the sexual harassment suit filed by a former NYU graduate student against his advisor Avital Ronell. The signatories acknowledged not having had access to the confidential findings of the investigation that followed the Title IX complaint against Ronell. Nonetheless, they accused the complainant of waging a "malicious campaign" against Ronell. The signatories also wrote that the presumed "malicious intention has animated and sustained this legal nightmare" for a highly regarded scholar. "If she were to be terminated or relieved of her duties, the injustice would be widely recognized and opposed." Butler, the chief signatory, invoked their title as President Elect of the Modern Language Association. James J. Marino, a professor at Cleveland State University and a member of the MLA, started a petition to demand Butler's resignation or removal from their post. He argued that "Protesting against one instance of punishment is only a means to the larger end of preserving senior faculty's privilege of impunity. ... [Butler] was standing up for an old, corrupt, and long-standing way of doing business. The time for doing business that way is over. We should never look back." Some three months later, Butler apologized to the MLA for the letter. "I acknowledged that I should not have allowed the MLA affiliation to go forward with my name," Butler wrote to the Chronicle of Higher Education. "I expressed regret to the MLA officers and staff, and my colleagues accepted my apology. I extend that same apology to MLA members."
Comments on the anti-gender movement and trans-exclusionary radical feminism
Butler said in 2020 that trans-exclusionary radical feminism is "a fringe movement that is seeking to speak in the name of the mainstream, and that our responsibility is to refuse to let that happen." In 2021 they described the anti-gender movements as fascist trends and cautioned self-declared feminists from allying with such movements in targeting trans, non-binary, and genderqueer people. Butler also explored the issue in a 2019 paper in which they argued that "the confusion of discourses is part of what constitutes the fascist structure and appeal of at least some of these [anti-gender] movements. One can oppose gender as a cultural import from the North at the same time that one can see that very opposition as a social movement against further colonization of the South. The result is not a turn to the Left, but an embrace of ethno-nationalism."
The Guardian interview
On September 7, 2021, The Guardian published an interview of Butler by Jules Gleeson that included Butler's critique of trans-exclusionary feminists ("gender critical feminists" or "TERFs"). In response to a question about the Wi Spa controversy, Butler stated that "The anti-gender ideology is one of the dominant strains of fascism in our times." Within a few hours of publication, three paragraphs including this statement were removed, with a note explaining "This article was edited on 7 September 2021 to reflect developments which occurred after the interview took place."
The Guardian was then accused of censoring Judith Butler for having compared TERFs to fascists. British writer Roz Kaveney called it "a truly shocking moment of bigoted dishonesty", while British transgender activist and writer Juno Dawson, among others, observed that The Guardian had inadvertently triggered the Streisand effect, in which an attempt to censor yields the unintended consequence of increasing awareness of a topic. The next day, The Guardian acknowledged "a failure in our editorial standards".
Personal life
Butler is a lesbian, legally non-binary, and goes by she or they pronouns, but said in 2020 that they prefer "they", and indicated that they were "never at home" with being assigned "female" at birth. They live in Berkeley with their partner Wendy Brown and son, Isaac.
Selected honors and awards
Butler has had a visiting appointment at Birkbeck, University of London (2009–).
1999: Guggenheim Fellowship
2007: Elected to the American Philosophical Society
2008: Mellon Award for their exemplary contributions to scholarship in the humanities
2010: "25 Visionaries Who Are Changing Your World", Utne Reader
2012: Theodor W. Adorno Award
2013: Doctorate of Letters, honoris causa, University of St. Andrews
2013: Doctorate of Letters, honoris causa, McGill University
2014: Doctorate of Letters, honoris causa, University of Fribourg
2014: Named one of PinkNews's top 11 Jewish gay and lesbian icons
2015: Elected as a Corresponding Fellow of the British Academy
2018: Doctorate of Letters, honoris causa, University of Belgrade
2018: Butler delivered the Gifford Lectures with their series entitled 'My Life, Your Life: Equality and the Philosophy of Non-Violence'
2019: Elected as Fellow to the American Academy of Arts and Sciences.
Publications
All of Butler's books have been translated into numerous languages; Gender Trouble, alone, has been translated into twenty-seven languages. In addition, they have co-authored and edited over a dozen volumes—the most recent of which is Dispossession: The Performative in the Political (2013), coauthored with Athena Athanasiou. Over the years Butler has also published many influential essays, interviews, and public presentations. Butler is considered by many as "one of the most influential voices in contemporary political theory," and as the most widely read and influential gender theorist in the world.
The following is a partial list of Butler's publications.
Books
[Their doctoral dissertation.]
Book chapters
A collection of essays on the work of Avital Ronell.
Details.
Notes
References
Further reading
Chambers, Samuel A. and Terrell Carver. 'Judith Butler and Political Theory: Troubling Politics. New York: Routledge, 2008.
Cheah, Pheng, "Mattering," Diacritics, Volume 26, Number 1, Spring 1996, pp. 108–139.
Kirby, Vicki. Judith Butler: Live Theory. London: Continuum, 2006.
Eldred, Michael, [http://www.arte-fact.org/mtphysfm.html 'Metaphysics of Feminism: A Critical Note on Judith Butler's Gender Trouble] 2008.
From the paper's abstract: In this paper we contribute to these [sexualization of culture] debates by presenting 'technologies of sexiness', a theoretical framework that draws on Foucauldian theorizing of technologies of the self and Butler's work on performativity.
Pdf. Considers performativity from a linguistic perspective.
Perreau, Bruno. Queer Theory: The French Response, Stanford, CA, Stanford University Press, 2016.
Salih, Sarah. The Judith Butler Reader. Malden, Massachusetts: Blackwell, 2004.
—. Routledge Critical Thinkers: Judith Butler. New York: Routledge, 2002.
Schippers, Birgit. The Political Philosophy of Judith Butler. New York: Routledge, 2014.
Thiem, Annika. Unbecoming Subjects: Judith Butler, Moral Philosophy, and Critical Responsibility. New York: Fordham University Press, 2008.
External links
Biography – University of California, Berkeley
approach the notion of affinity through a discussion of "Disruptive Kinship," co-sponsored by Villa Gillet and the School of Writing at The New School for Public Engagement.
Interview of Judith Butler about their new book "Frames of War" on New Statesman
Review of "Giving an Account of Oneself. Ethical Violence and Responsibility", by Judith Butler, Barcelona Metropolis Autumn 2010.
"Dictionary of Literary Biography on Judith P. Butler (page 3)"
Interview with Judith Butler about politics, economy, control societies, gender and identity (2011)
1956 births
Living people
20th-century American non-fiction writers
20th-century American philosophers
21st-century American non-fiction writers
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American democratic socialists
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American people of Hungarian-Jewish descent
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Anti-Zionism in the United States
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Critical theorists
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[
"What Else Do You Do? (A Compilation of Quiet Music) is a various artists compilation album, released in 1990 by Shimmy Disc.\n\nTrack listing\n\nPersonnel \nAdapted from the What Else Do You Do? (A Compilation of Quiet Music) liner notes.\n Kramer – production, engineering\n\nRelease history\n\nReferences\n\nExternal links \n \n\n1990 compilation albums\nAlbums produced by Kramer (musician)\nShimmy Disc compilation albums",
"This is the discography of R&B/Hip hop soul trio, Total.\n\nAlbums\n\nStudio albums\n\nSingles\n\n Notes\n Did not chart on the Hot R&B/Hip-Hop Songs chart (Billboard rules at the time prevented album cuts from charting). Chart peak listed represents the Hot R&B/Hip-Hop Airplay chart.\n\nFeatured singles\n\nGuest appearances\n\nSoundtracks\n\nVideography\n From Total (1996)\n No One Else\n No One Else (Puff Daddy Remix)\n Kissin' You\n Kissin' You / Oh Honey\n Can't You See\n Can't You See (Bad Boy Remix)\n Do You Think About Us\n From Kima, Keisha, and Pam (1998)\n Trippin'\n Sitting Home\n From Soul Food (soundtrack) (1997)\n What About Us? (1997)\n As Guest Artists\n LL Cool J - Loungin' (Who Do U Love?) (1995)\nNotorious B.I.G. \"Hypnotize\" (Pam)\nNotorious B.I.G \"Juicy\" (Keisha & Kima)\n Mase - What You Want (1997)\n Foxy Brown - I Can't (1998)\n Tony Touch - I Wonder Why (He's The Greatest DJ) (2000)\n Cameos\n Craig Mack - Flava In Ya Ear (Remix) (Keisha from Total) (1994)\n The Notorious B.I.G. - One More Chance/Stay With Me (1994)\nSoul For Real - Every Little Thing I Do (1995)\n 112 - Only You - Bad Boy Remix (Keisha from Total) (1996)\n Missy Elliott - The Rain (Supa Supa Fly) (1997)\n Jerome - Too Old For Me (Keisha from Total) (1997)\nLil' Kim - Not Tonight (Remix) (1997)\nThe Lox - We'll Always Love Big Poppa (1998)\nThe Bad Boy Family - You (2001) [Featuring Pam & Keisha]\n\nReferences\n\nTotal discography\nHip hop discographies\nRhythm and blues discographies"
] |
[
"Judith Butler",
"Early life and education",
"Where did Butler study?",
"she attended both Hebrew school and special classes on Jewish ethics,",
"Where did she go to college?",
"Bennington College",
"When did she graduate from Bennington?",
"receiving her B.A. in 1978",
"Did she go on to graduate school?",
"then Yale University",
"When did she graduate from Yale?",
"her Ph.D. in 1984.",
"Did she receive any achievements in school?",
"She spent one academic year at Heidelberg University as a Fulbright-Scholar.",
"What else did she do during this time?",
"She taught at Wesleyan University, George Washington University, and Johns Hopkins University"
] |
C_d9b9c91dd063459692c2b13e18d4a5e6_1
|
What did she teach at these schools?
| 8 |
What did Judith Butler teach at Wesleyan University, George Washington University, and Johns Hopkins University?
|
Judith Butler
|
Judith Butler was born in Cleveland, Ohio, to a family of Hungarian-Jewish and Russian-Jewish descent. Most of her maternal grandmother's family perished in the Holocaust. As a child and teenager, she attended both Hebrew school and special classes on Jewish ethics, where she received her "first training in philosophy". Butler stated in a 2010 interview with Haaretz that she began the ethics classes at the age of 14 and that they were created as a form of punishment by her Hebrew school's Rabbi because she was "too talkative in class". Butler also stated that she was "thrilled" by the idea of these tutorials, and when asked what she wanted to study in these special sessions, she responded with three questions preoccupying her at the time: "Why was Spinoza excommunicated from the synagogue? Could German Idealism be held accountable for Nazism? And how was one to understand existential theology, including the work of Martin Buber?" Butler attended Bennington College and then Yale University where she studied philosophy, receiving her B.A. in 1978 and her Ph.D. in 1984. She spent one academic year at Heidelberg University as a Fulbright-Scholar. She taught at Wesleyan University, George Washington University, and Johns Hopkins University before joining University of California, Berkeley, in 1993. In 2002 she held the Spinoza Chair of Philosophy at the University of Amsterdam. In addition, she joined the department of English and Comparative Literature at Columbia University as Wun Tsun Tam Mellon Visiting Professor of the Humanities in the spring semesters of 2012, 2013 and 2014 with the option of remaining as full-time faculty. Butler serves on the editorial board or advisory board of academic journals including JAC: A Journal of Rhetoric, Culture, and Politics and Signs: Journal of Women in Culture and Society. CANNOTANSWER
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she joined the department of English and Comparative Literature
|
Judith Pamela Butler (born February 24, 1956) is an American philosopher and gender theorist whose work has influenced political philosophy, ethics, and the fields of third-wave feminism, queer theory, and literary theory. In 1993, Butler began teaching at the University of California, Berkeley, where they have served, beginning in 1998, as the Maxine Elliot Professor in the Department of Comparative Literature and the Program of Critical Theory. They are also the Hannah Arendt Chair at the European Graduate School.
Butler is best known for their books Gender Trouble: Feminism and the Subversion of Identity (1990) and Bodies That Matter: On the Discursive Limits of Sex (1993), in which they challenge conventional notions of gender and develop their theory of gender performativity. This theory has had a major influence on feminist and queer scholarship. Their work is often studied and debated in film studies courses emphasizing gender studies and performativity in discourse.
Butler has supported lesbian and gay rights movements, and they have spoken out on many contemporary political issues, including criticism of Israeli politics.
Early life and education
Judith Butler was born on February 24, 1956, in Cleveland, Ohio, to a family of Hungarian-Jewish and Russian-Jewish descent. Most of their maternal grandmother's family perished in the Holocaust. Butler's parents were practicing Reform Jews. Their mother was raised Orthodox, eventually becoming Conservative and then Reform, while their father was raised Reform. As a child and teenager, Butler attended both Hebrew school and special classes on Jewish ethics, where they received their "first training in philosophy". Butler stated in a 2010 interview with Haaretz that they began the ethics classes at the age of 14 and that they were created as a form of punishment by Butler's Hebrew school's Rabbi because they were "too talkative in class". Butler also stated that they were "thrilled" by the idea of these tutorials, and when asked what they wanted to study in these special sessions, they responded with three questions preoccupying them at the time: "Why was Spinoza excommunicated from the synagogue? Could German Idealism be held accountable for Nazism? And how was one to understand existential theology, including the work of Martin Buber?"
Butler attended Bennington College before transferring to Yale University, where they studied philosophy and received a Bachelor of Arts in 1978 and a Doctor of Philosophy in 1984. They spent one academic year at Heidelberg University as a Fulbright Scholar. Butler taught at Wesleyan University, George Washington University, and Johns Hopkins University before joining University of California, Berkeley, in 1993. In 2002, they held the Spinoza Chair of Philosophy at the University of Amsterdam. In addition, they joined the department of English and Comparative Literature at Columbia University as Wun Tsun Tam Mellon Visiting Professor of the Humanities in the spring semesters of 2012, 2013 and 2014 with the option of remaining as full-time faculty.
Butler serves on the editorial board or advisory board of several academic journals, including Janus Unbound: Journal of Critical Studies, JAC: A Journal of Rhetoric, Culture, and Politics and Signs: Journal of Women in Culture and Society.
Overview of major works
Performative Acts and Gender Constitution (1988)
In the essay "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory" Judith Butler proposes that gender is performative. Because gender identity is established through behavior, there is a possibility to construct different genders via different behaviors.
Gender Trouble (1990)
Gender Trouble: Feminism and the Subversion of Identity was first published in 1990, selling over 100,000 copies internationally, in multiple languages. Gender Trouble discusses the works of Sigmund Freud, Simone de Beauvoir, Julia Kristeva, Jacques Lacan, Luce Irigaray, Monique Wittig, Jacques Derrida, and Michel Foucault.
Butler offers a critique of the terms gender and sex as they have been used by feminists. Butler argues that feminism made a mistake in trying to make "women" a discrete, ahistorical group with common characteristics. Butler writes that this approach reinforces the binary view of gender relations. Butler believes that feminists should not try to define "women" and they also believe that feminists should "focus on providing an account of how power functions and shapes our understandings of womanhood not only in the society at large but also within the feminist movement." Finally, Butler aims to break the supposed links between sex and gender so that gender and desire can be "flexible, free floating and not caused by other stable factors". The idea of identity as free and flexible and gender as a performance, not an essence, is one of the foundations of queer theory.
Imitation and Gender Insubordination (1991)
This is Butler's contribution to Inside/Out: Lesbian Theories, Gay Theories, a collection of the writings of gay and lesbian social theorists. Butler argues that no transparent revelation is afforded by the terms "gay" or "lesbian" yet there is a political imperative to do so. Butler employs "the concepts of play/performance, drag, and imitation to describe the formation of gender and sexuality as continually created subjectivities always at risk of dissolution from non-performance."
Bodies That Matter (1993)
Bodies That Matter: On the Discursive Limits of "Sex" seeks to clear up readings and supposed misreadings of performativity that view the enactment of sex/gender as a daily choice. Butler emphasizes the role of repetition in performativity, making use of Derrida's theory of iterability, which is a form of citationality:
Performativity cannot be understood outside of a process of iterability, a regularized and constrained repetition of norms. And this repetition is not performed by a subject; this repetition is what enables a subject and constitutes the temporal condition for the subject. This iterability implies that 'performance' is not a singular 'act' or event, but a ritualized production, a ritual reiterated under and through constraint, under and through the force of prohibition and taboo, with the threat of ostracism and even death controlling and compelling the shape of the production, but not, I will insist, determining it fully in advance.
Excitable Speech (1997)
In Excitable Speech: A Politics of the Performative, Butler surveys the problems of hate speech and censorship. They argue that censorship is difficult to evaluate, and that in some cases it may be useful or even necessary, while in others it may be worse than tolerance.
Butler argues that hate speech exists retrospectively, only after being declared such by state authorities. In this way, the state reserves for itself the power to define hate speech and, conversely, the limits of acceptable discourse. In this connection, Butler criticizes feminist legal scholar Catharine MacKinnon's argument against pornography for its unquestioning acceptance of the state's power to censor.
Deploying Foucault's argument from the first volume of The History of Sexuality, Butler claims that any attempt at censorship, legal or otherwise, necessarily propagates the very language it seeks to forbid. As Foucault argues, for example, the strict sexual mores of 19th-century Western Europe did nothing but amplify the discourse of sexuality they sought to control. Extending this argument using Derrida and Lacan, Butler claims that censorship is primitive to language, and that the linguistic "I" is a mere effect of an originary censorship. In this way, Butler questions the possibility of any genuinely oppositional discourse; "If speech depends upon censorship, then the principle that one might seek to oppose is at once the formative principle of oppositional speech".
Undoing Gender (2004)
Undoing Gender collects Butler's reflections on gender, sex, sexuality, psychoanalysis and the medical treatment of intersex people for a more general readership than many of their other books. Butler revisits and refines their notion of performativity and focuses on the question of undoing "restrictively normative conceptions of sexual and gendered life".
Butler discusses how gender is performed without one being conscious of it, but says that it does not mean this performativity is "automatic or mechanical". They argue that we have desires that do not originate from our personhood, but rather, from social norms. The writer also debates our notions of "human" and "less-than-human" and how these culturally imposed ideas can keep one from having a "viable life" as the biggest concerns are usually about whether a person will be accepted if their desires differ from normality. Butler states that one may feel the need of being recognized in order to live, but that at the same time, the conditions to be recognized make life "unlivable". The writer proposes an interrogation of such conditions so that people who resist them may have more possibilities of living.
In Butler's discussion of intersex issues and people, Butler addresses the case of David Reimer, a person whose sex was medically "reassigned" from male to female after a botched circumcision at eight months of age. Reimer was "made" female by doctors, but later in life identified as "really" male, married and became a stepfather to his wife's three children, and went on to tell his story in As Nature Made Him: The Boy Who Was Raised as a Girl, which he wrote with John Colapinto. Reimer died by suicide in 2004.
Giving an Account of Oneself (2005)
In Giving an Account of Oneself, Butler develops an ethics based on the opacity of the subject to itself; in other words, the limits of self-knowledge. Primarily borrowing from Theodor Adorno, Michel Foucault, Friedrich Nietzsche, Jean Laplanche, Adriana Cavarero and Emmanuel Levinas, Butler develops a theory of the formation of the subject. Butler theorizes the subject in relation to the social – a community of others and their norms – which is beyond the control of the subject it forms, as precisely the very condition of that subject's formation, the resources by which the subject becomes recognizably human, a grammatical "I", in the first place.
Butler accepts the claim that if the subject is opaque to itself the limitations of its free ethical responsibility and obligations are due to the limits of narrative, presuppositions of language and projection.
Instead Butler argues for an ethics based precisely on the limits of self-knowledge as the limits of responsibility itself. Any concept of responsibility which demands the full transparency of the self to itself, an entirely accountable self, necessarily does violence to the opacity which marks the constitution of the self it addresses. The scene of address by which responsibility is enabled is always already a relation between subjects who are variably opaque to themselves and to each other. The ethics that Butler envisions is therefore one in which the responsible self knows the limits of its knowing, recognizes the limits of its capacity to give an account of itself to others, and respects those limits as symptomatically human. To take seriously one's opacity to oneself in ethical deliberation means then to critically interrogate the social world in which one comes to be human in the first place and which remains precisely that which one cannot know about oneself. In this way, Butler locates social and political critique at the core of ethical practice.
Notes Toward a Performative Theory of Assembly (2015)
In Notes Toward a Performative Theory of Assembly, Butler discusses the power of public gatherings, considering what they signify and how they work. They use this framework to analyze the power and possibilities of protests, such as the Black Lives Matter protests regarding the deaths of Michael Brown and Eric Garner in 2014.
The Force of Nonviolence (2020)
In The Force of Nonviolence: An Ethico-Political Bind, Butler connects the ideologies of nonviolence and the political struggle for social equality. They review the traditional understanding of "nonviolence," stating that it "is often misunderstood as a passive practice that emanates from a calm region of the soul, or as an individualist ethical relation to existing forms of power." Instead of this understanding, Butler argues that "nonviolence is an ethical position found in the midst of the political field."
Reception
Butler's work has been influential in feminist and queer theory, cultural studies, and continental philosophy. Yet their contribution to a range of other disciplines—such as psychoanalysis, literary, film, and performance studies as well as visual arts—has also been significant. Their theory of gender performativity as well as their conception of "critically queer" have not only transformed understandings of gender and queer identity in the academic world, but have shaped and mobilized various kinds of political activism, particularly queer activism, across the globe. Butler's work has also entered into contemporary debates on the teaching of gender, gay parenting, and the depathologization of transgender people. Before election to the papacy, Pope Benedict XVI wrote several pages challenging Butler's arguments on gender. In several countries, Butler became the symbol of the destruction of traditional gender roles for reactionary movements. This was particularly the case in France during the anti-gay marriage protests. Bruno Perreau has written that Butler was literally depicted as an "antichrist", both because of their gender and their Jewish identity, the fear of minority politics and critical studies being expressed through fantasies of a corrupted body.
Some academics and political activists maintain that Butler's radical departure from the sex/gender dichotomy and Butler's non-essentialist conception of gender—along with their insistence that power helps form the subject—revolutionized feminist and queer praxis, thought, and studies. Darin Barney of McGill University wrote that:
In 1998, Denis Dutton's journal Philosophy and Literature awarded Butler first prize in its fourth annual "Bad Writing Competition", which set out to "celebrate bad writing from the most stylistically lamentable passages found in scholarly books and articles." Butler's unwitting entry, which ran in a 1997 issue of the scholarly journal Diacritics, ran thus:
Some critics have accused Butler of elitism due to their difficult prose style, while others claim that Butler reduces gender to "discourse" or promotes a form of gender voluntarism. Susan Bordo, for example, has argued that Butler reduces gender to language and has contended that the body is a major part of gender, in opposition to Butler's conception of gender as performative. A particularly vocal critic has been feminist Martha Nussbaum, who has argued that Butler misreads J. L. Austin's idea of performative utterance, makes erroneous legal claims, forecloses an essential site of resistance by repudiating pre-cultural agency, and provides no "normative theory of social justice and human dignity." Finally, Nancy Fraser's critique of Butler was part of a famous exchange between the two theorists. Fraser has suggested that Butler's focus on performativity distances them from "everyday ways of talking and thinking about ourselves. ... Why should we use such a self-distancing idiom?"
Butler responded to criticisms of their prose in the preface to the 1999 edition of their book, Gender Trouble.
More recently, several critics—most prominently, Viviane Namaste
—have criticised Judith Butler's Undoing Gender for under-emphasizing the intersectional aspects of gender-based violence. For example, Timothy Laurie notes that Butler's use of phrases like "gender politics" and "gender violence" in relation to assaults on transgender individuals in the United States can "[scour] a landscape filled with class and labour relations, racialised urban stratification, and complex interactions between sexual identity, sexual practices and sex work", and produce instead "a clean surface on which struggles over 'the human' are imagined to play out".
German feminist Alice Schwarzer speaks of Butler's "radical intellectual games" that would not change how society classifies and treats a woman; thus, by eliminating female and male identity Butler would have abolished the discourse about sexism in the queer community. Schwarzer also accuses Butler of remaining silent about the oppression of women and homosexuals in the Islamic world, while readily exercising their right to same-sex-marriage in the United States; instead, Butler would sweepingly defend Islam, including Islamism, from critics.
Political activism
Much of Butler's early political activism centered around queer and feminist issues, and they served, for a period of time, as the chair of the board of the International Gay and Lesbian Human Rights Commission. Over the years, Butler has been particularly active in the gay and lesbian rights, feminist, and anti-war movements. They have also written and spoken out on issues ranging from affirmative action and gay marriage to the wars in Iraq and Afghanistan, and the prisoners detained at Guantanamo Bay. More recently, Butler has been active in the Occupy movement and has publicly expressed support for a version of the 2005 BDS (Boycott, Divestment and Sanctions) campaign against Israel. They emphasize that Israel does not and should not be taken to represent all Jews or Jewish opinion.
On September 7, 2006, Butler participated in a faculty-organized teach-in against the 2006 Lebanon War at the University of California, Berkeley. Another widely publicized moment occurred in June 2010, when Butler refused the Civil Courage Award (Zivilcouragepreis) of the Christopher Street Day (CSD) Parade in Berlin, Germany at the award ceremony. They cited racist comments on the part of organizers and a general failure of CSD organizations to distance themselves from racism in general and from anti-Muslim excuses for war more specifically. Criticizing the event's commercialism, Butler went on to name several groups that they commended as stronger opponents of "homophobia, transphobia, sexism, racism, and militarism".
In October 2011, Butler attended Occupy Wall Street and, in reference to calls for clarification of the protesters' demands, they said:
People have asked, so what are the demands? What are the demands all of these people are making? Either they say there are no demands and that leaves your critics confused, or they say that the demands for social equality and economic justice are impossible demands. And the impossible demands, they say, are just not practical. If hope is an impossible demand, then we demand the impossible – that the right to shelter, food and employment are impossible demands, then we demand the impossible. If it is impossible to demand that those who profit from the recession redistribute their wealth and cease their greed, then yes, we demand the impossible.
Butler is an executive member of FFIPP – Educational Network for Human Rights in Israel/Palestine. They are also a member of the advisory board of Jewish Voice for Peace. In mainstream US politics, they expressed support for Hillary Clinton in the 2016 election.
Adorno Prize affair
When Butler received the 2012 Adorno Prize, the prize committee came under attack from Israel's Ambassador to Germany Yakov Hadas-Handelsman; the director of the Simon Wiesenthal Center's office in Jerusalem, Efraim Zuroff; and the German Central Council of Jews. They were upset at Butler's selection because of Butler's remarks about Israel and specifically Butler's "calls for a boycott against Israel". Butler responded saying that "[Butler] did not take attacks from German Jewish leaders personally". Rather, they wrote, the attacks are "directed against everyone who is critical against Israel and its current policies".
In a letter to the Mondoweiss website, Butler asserted that they developed strong ethical views on the basis of Jewish philosophical thought and that it is "blatantly untrue, absurd, and painful for anyone to argue that those who formulate a criticism of the State of Israel is anti-Semitic or, if Jewish, self-hating".
Comments on Hamas and Hezbollah
Butler was criticized for statements they had made about Hamas and Hezbollah. Butler was accused of describing them as "social movements that are progressive, that are on the Left, that are part of a global Left." They were accused of defending "Hezbollah and Hamas as progressive organizations" and supporting their tactics.
Butler responded to these criticisms by stating that their remarks on Hamas and Hezbollah were taken completely out of context and, in so doing, their established views on non-violence were contradicted and misrepresented. Butler describes the origin of their remarks on Hamas and Hezbollah in the following way:
I was asked by a member of an academic audience a few years ago whether I thought Hamas and Hezbollah belonged to "the global left" and I replied with two points. My first point was merely descriptive: those political organizations define themselves as anti-imperialist, and anti-imperialism is one characteristic of the global left, so on that basis one could describe them as part of the global left. My second point was then critical: as with any group on the left, one has to decide whether one is for that group or against that group, and one needs to critically evaluate their stand.
Comments on Black Lives Matter
In a January 2015 interview with George Yancy of The New York Times, Butler discussed the Black Lives Matter movement. They said:
What is implied by this statement [Black Lives Matter], a statement that should be obviously true, but apparently is not? If black lives do not matter, then they are not really regarded as lives, since a life is supposed to matter. So what we see is that some lives matter more than others, that some lives matter so much that they need to be protected at all costs, and that other lives matter less, or not at all. And when that becomes the situation, then the lives that do not matter so much, or do not matter at all, can be killed or lost, can be exposed to conditions of destitution, and there is no concern, or even worse, that is regarded as the way it is supposed to be...When people engage in concerted actions across racial lines to build communities based on equality, to defend the rights of those who are disproportionately imperiled to have a chance to live without the fear of dying quite suddenly at the hands of the police. There are many ways to do this, in the street, the office, the home, and in the media. Only through such an ever-growing cross-racial struggle against racism can we begin to achieve a sense of all the lives that really do matter.
The dialogue draws heavily on their 2004 book Precarious Life: The Powers of Mourning and Violence.
Avital Ronell sexual harassment case
On May 11, 2018, Butler led a group of scholars in writing a letter to New York University following the sexual harassment suit filed by a former NYU graduate student against his advisor Avital Ronell. The signatories acknowledged not having had access to the confidential findings of the investigation that followed the Title IX complaint against Ronell. Nonetheless, they accused the complainant of waging a "malicious campaign" against Ronell. The signatories also wrote that the presumed "malicious intention has animated and sustained this legal nightmare" for a highly regarded scholar. "If she were to be terminated or relieved of her duties, the injustice would be widely recognized and opposed." Butler, the chief signatory, invoked their title as President Elect of the Modern Language Association. James J. Marino, a professor at Cleveland State University and a member of the MLA, started a petition to demand Butler's resignation or removal from their post. He argued that "Protesting against one instance of punishment is only a means to the larger end of preserving senior faculty's privilege of impunity. ... [Butler] was standing up for an old, corrupt, and long-standing way of doing business. The time for doing business that way is over. We should never look back." Some three months later, Butler apologized to the MLA for the letter. "I acknowledged that I should not have allowed the MLA affiliation to go forward with my name," Butler wrote to the Chronicle of Higher Education. "I expressed regret to the MLA officers and staff, and my colleagues accepted my apology. I extend that same apology to MLA members."
Comments on the anti-gender movement and trans-exclusionary radical feminism
Butler said in 2020 that trans-exclusionary radical feminism is "a fringe movement that is seeking to speak in the name of the mainstream, and that our responsibility is to refuse to let that happen." In 2021 they described the anti-gender movements as fascist trends and cautioned self-declared feminists from allying with such movements in targeting trans, non-binary, and genderqueer people. Butler also explored the issue in a 2019 paper in which they argued that "the confusion of discourses is part of what constitutes the fascist structure and appeal of at least some of these [anti-gender] movements. One can oppose gender as a cultural import from the North at the same time that one can see that very opposition as a social movement against further colonization of the South. The result is not a turn to the Left, but an embrace of ethno-nationalism."
The Guardian interview
On September 7, 2021, The Guardian published an interview of Butler by Jules Gleeson that included Butler's critique of trans-exclusionary feminists ("gender critical feminists" or "TERFs"). In response to a question about the Wi Spa controversy, Butler stated that "The anti-gender ideology is one of the dominant strains of fascism in our times." Within a few hours of publication, three paragraphs including this statement were removed, with a note explaining "This article was edited on 7 September 2021 to reflect developments which occurred after the interview took place."
The Guardian was then accused of censoring Judith Butler for having compared TERFs to fascists. British writer Roz Kaveney called it "a truly shocking moment of bigoted dishonesty", while British transgender activist and writer Juno Dawson, among others, observed that The Guardian had inadvertently triggered the Streisand effect, in which an attempt to censor yields the unintended consequence of increasing awareness of a topic. The next day, The Guardian acknowledged "a failure in our editorial standards".
Personal life
Butler is a lesbian, legally non-binary, and goes by she or they pronouns, but said in 2020 that they prefer "they", and indicated that they were "never at home" with being assigned "female" at birth. They live in Berkeley with their partner Wendy Brown and son, Isaac.
Selected honors and awards
Butler has had a visiting appointment at Birkbeck, University of London (2009–).
1999: Guggenheim Fellowship
2007: Elected to the American Philosophical Society
2008: Mellon Award for their exemplary contributions to scholarship in the humanities
2010: "25 Visionaries Who Are Changing Your World", Utne Reader
2012: Theodor W. Adorno Award
2013: Doctorate of Letters, honoris causa, University of St. Andrews
2013: Doctorate of Letters, honoris causa, McGill University
2014: Doctorate of Letters, honoris causa, University of Fribourg
2014: Named one of PinkNews's top 11 Jewish gay and lesbian icons
2015: Elected as a Corresponding Fellow of the British Academy
2018: Doctorate of Letters, honoris causa, University of Belgrade
2018: Butler delivered the Gifford Lectures with their series entitled 'My Life, Your Life: Equality and the Philosophy of Non-Violence'
2019: Elected as Fellow to the American Academy of Arts and Sciences.
Publications
All of Butler's books have been translated into numerous languages; Gender Trouble, alone, has been translated into twenty-seven languages. In addition, they have co-authored and edited over a dozen volumes—the most recent of which is Dispossession: The Performative in the Political (2013), coauthored with Athena Athanasiou. Over the years Butler has also published many influential essays, interviews, and public presentations. Butler is considered by many as "one of the most influential voices in contemporary political theory," and as the most widely read and influential gender theorist in the world.
The following is a partial list of Butler's publications.
Books
[Their doctoral dissertation.]
Book chapters
A collection of essays on the work of Avital Ronell.
Details.
Notes
References
Further reading
Chambers, Samuel A. and Terrell Carver. 'Judith Butler and Political Theory: Troubling Politics. New York: Routledge, 2008.
Cheah, Pheng, "Mattering," Diacritics, Volume 26, Number 1, Spring 1996, pp. 108–139.
Kirby, Vicki. Judith Butler: Live Theory. London: Continuum, 2006.
Eldred, Michael, [http://www.arte-fact.org/mtphysfm.html 'Metaphysics of Feminism: A Critical Note on Judith Butler's Gender Trouble] 2008.
From the paper's abstract: In this paper we contribute to these [sexualization of culture] debates by presenting 'technologies of sexiness', a theoretical framework that draws on Foucauldian theorizing of technologies of the self and Butler's work on performativity.
Pdf. Considers performativity from a linguistic perspective.
Perreau, Bruno. Queer Theory: The French Response, Stanford, CA, Stanford University Press, 2016.
Salih, Sarah. The Judith Butler Reader. Malden, Massachusetts: Blackwell, 2004.
—. Routledge Critical Thinkers: Judith Butler. New York: Routledge, 2002.
Schippers, Birgit. The Political Philosophy of Judith Butler. New York: Routledge, 2014.
Thiem, Annika. Unbecoming Subjects: Judith Butler, Moral Philosophy, and Critical Responsibility. New York: Fordham University Press, 2008.
External links
Biography – University of California, Berkeley
approach the notion of affinity through a discussion of "Disruptive Kinship," co-sponsored by Villa Gillet and the School of Writing at The New School for Public Engagement.
Interview of Judith Butler about their new book "Frames of War" on New Statesman
Review of "Giving an Account of Oneself. Ethical Violence and Responsibility", by Judith Butler, Barcelona Metropolis Autumn 2010.
"Dictionary of Literary Biography on Judith P. Butler (page 3)"
Interview with Judith Butler about politics, economy, control societies, gender and identity (2011)
1956 births
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"A Chance to Make History: What Works and What Doesn't in Providing an Excellent Education for All () is a book by Wendy Kopp, CEO and Founder of Teach For America, that was published by PublicAffairs in January 2011.\n\nIn A Chance to Make History, Kopp draws on examples of effective teachers, schools, and districts to demonstrate what she believes is needed to provide all children with a \"transformational\" education.\n\nA Chance to Make History is the second book by Wendy Kopp. Her first book, titled One Day, All Children: The Unlikely Triumph of Teach for America and What I Learned Along the Way, was published in 2003 by PublicAffairs.\n\nWendy Kopp\n\nWendy Kopp is the chair of the board and Founder of Teach For America, the national teaching corps. Kopp came up with the idea for the organization in her 1989 undergraduate research thesis at Princeton University. She is also the CEO and Co-Founder of Teach For All, a global network of independent nonprofit organizations that apply the same model as Teach For America in other countries.\n\nRecognition\n\nA Chance to Make History was named a Washington Post bestselling book in April 2011.\n\nFootnotes\n\nBooks about education\n2011 non-fiction books\nEnglish-language books\nPublicAffairs books",
"Shaheen Mistri (born 16 March 1971) is an Indian social activist and educator. She is the founder of Akanksha Foundation, an Indian non-profit educational initiative in Mumbai and Pune, and is also the CEO of Teach For India since 2008.\n\nEarly life\nShaheen Mistri was born in Pune, India in a Parsi family. She grew up in 5 different countries as she moved countries with her father, a senior banker with Citigroup. At the age of eighteen she returned to Mumbai, keen to learn more about the city and its slums, when she decided to enroll at the University of Mumbai. Shaheen had always heard about inequalities in India’s education system, but what she saw shocked her. She graduated with a BA degree in Sociology from St. Xavier's College, University of Mumbai and later obtained a MA from the University of Manchester. Shaheen has been an Ashoka Fellow, a Global Leader for Tomorrow at the World Economic Forum, and an Asia Society 21 Leader. Shaheen is the author of the book, Re-drawing India.\n\nCareer\nShaheen Mistri, as a young college student, walked into the Mumbai slums and expressed her desire to teach the less privileged children who roamed the streets. Shaheen founded the first Akanksha Center in 1989, enrolling 15 children and employing college friends as volunteers. It eventually evolved into the Akanksha Foundation, a non-profit education project that provided after-school tutoring to children from low-income. Today, Akanksha reaches out to over 6500 children through its School Project Model. The centers and schools are in Mumbai and Pune. Teachers teach children using an innovative methodology, which has won the foundation international honors.\n\nIn the summer of 2008, Shaheen founded Teach For India, with an audacious vision of providing an excellent education to all children across India through building a pipeline of leaders committed to ending educational inequity in India. The Teach For India Fellowship enlists India's most promising college graduates and young professionals to spend two years teaching in low-income schools and attempt to bridge the educational gap in the country.\n\nBoard memberships\nShaheen serves on the boards of Akanksha Foundation and Simple Education Foundation and is an ex-member of the board of Design For Change, the Thermax Foundation, and Teach For All.\n\nPublished works\n Redrawing India: The Teach For India Story (2014)\n\nAwards\n Ashoka Fellow (2001)\n Global Leader for Tomorrow at the World Economic Forum (2002)\n Asia Society 21 Leader (2006)\n\nReferences\n\nExternal links\nTeach For India official site\nAkanksha Foundation official site\nAbout Shaheen Mistri\nMistri at ISB\n\nAshoka India Fellows\nIndian women activists\nWomen educators from Maharashtra\n21st-century Indian educational theorists\nUniversity of Mumbai alumni\nParsi people from Mumbai\nLiving people\n1969 births\nPeople from Mumbai\nActivists from Maharashtra\nWomen writers from Maharashtra\nEducators from Maharashtra\n21st-century Indian women writers\n21st-century Indian non-fiction writers\nIndian social sciences writers\n21st-century women educators"
] |
[
"Uncle Tupelo",
"Post-breakup"
] |
C_eea056c49cca401a93366614591e197d_0
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what took place post break up?
| 1 |
what took place post break up of Uncle Tupelo?
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Uncle Tupelo
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Following Uncle Tupelo's final tour, Tweedy encouraged his bandmates to join him in a new group, while Farrar searched for members for a band of his own. Tweedy was able to retain the rest of the Uncle Tupelo lineup, and created Wilco. Wilco began rehearsing a few days after the final Uncle Tupelo concert, and by August 1994 they were in the recording studio for their first album, A.M.. Farrar asked Jim Boquist to join his new band, Son Volt; Boquist was a multi-instrumentalist who had performed with Joe Henry as the opening act on Uncle Tupelo's last tour. Boquist also recruited his brother Dave, and Farrar convinced Mike Heidorn to leave Belleville to join the group. Farrar's new four-piece began recording their debut album Trace in November 1994. Wilco signed to Reprise Records while Son Volt signed with Warner Bros. Records. Son Volt had an early college rock hit with "Drown" from the album Trace, but Wilco maintained a more commercially successful career in the years to follow. Regarding the possibility of a reunion, Mike Heidorn reported in a PopMatters interview that "nothing's ever for sure, but I would have to say, 'No such thing' ". Farrar said that he does not want the band to get back together, while Tweedy said that he believes that a reunion would not be productive musically. Farrar and Tweedy sued Rockville Records and Dutch East India Trading CEO Barry Tenenbaum in 2000 over royalties that the label allegedly owed them, winning reparations from Tenenbaum and the joint rights to Uncle Tupelo's first three albums. After securing the rights, the band released a compilation entitled 89/93: An Anthology. In 2003, Uncle Tupelo re-issued their first three albums, which before the lawsuit had cumulatively sold over 200,000 copies. CANNOTANSWER
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Tweedy encouraged his bandmates to join him in a new group, while Farrar searched for members for a band of his own.
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Uncle Tupelo was an alternative country music group from Belleville, Illinois, active between 1987 and 1994. Jay Farrar, Jeff Tweedy, and Mike Heidorn formed the band after the lead singer of their previous band, The Primitives, left to attend college. The trio recorded three albums for Rockville Records, before signing with Sire Records and expanding to a five-piece. Shortly after the release of the band's major label debut album Anodyne, Farrar announced his decision to leave the band due to a soured relationship with his co-songwriter Tweedy. Uncle Tupelo split on May 1, 1994, after completing a farewell tour. Following the breakup, Farrar formed Son Volt with Heidorn, while the remaining members continued as Wilco.
Although Uncle Tupelo broke up before it achieved commercial success, the band is renowned for its impact on the alternative country music scene. The group's first album, No Depression, became a byword for the genre and was widely influential. Uncle Tupelo's sound was unlike popular country music of the time, drawing inspiration from styles as diverse as the hardcore punk of The Minutemen and the country instrumentation and harmony of the Carter Family and Hank Williams. Farrar and Tweedy's lyrics frequently referred to Middle America and the working class of Belleville.
History
The Plebes and The Primitives
Jay Farrar, along with his brothers Wade and Dade, played in an early 1980s garage band named The Plebes. Hailing from Belleville, Illinois, The Plebes sought to enter a battle-of-the-bands competition but needed another high school student as a member to perform. They invited Jeff Tweedy, a high school friend of Jay Farrar, to join the band and play with them for the show. Despite a lack of skill with his instrument, Tweedy played an important role in the band by booking early gigs. While The Plebes had been playing music in a rockabilly style, Tweedy wanted to play punk rock like the music that he originally heard the group perform. This caused tensions between Tweedy and Dade Farrar, who left the band two months after Tweedy joined.
Before leaving the band in 1984, Dade Farrar introduced its members to Mike Heidorn, the younger brother of his girlfriend; Heidorn then joined the group as their drummer. The Plebes then decided to change its name to The Primitives, a reference to a 1965 song by psychedelic rock group The Groupies. Due to the unpopularity of punk rock in the St. Louis area, The Primitives began to play blues-oriented garage rock at fast tempos. They performed regularly at a wedding hall in Millstadt, Illinois, where Tweedy's mother Jo Ann would collect the cover fee. They also performed regularly at B St Bar in Belleville with bands such as The Newsboys (later Sammy and the Snowmonkeys), Charlie Langrehr, and The Symptoms. Wade Farrar was the lead singer of the band, but his commitment to Southern Illinois University and an attempted enlistment in the United States Army meant he was only able to dedicate a small amount of time to the group. Additionally, Heidorn broke his collarbone during a concert in 1986, which caused the band to go on hiatus. Jay Farrar and Tweedy continued to write songs and perform at Heidorn's house while he recovered, and by 1987 they had restarted the group. The Primitives temporarily added Tony Mayr as a bassist so that Tweedy could play guitar, but a month later the band decided to keep Tweedy on bass and remain a three-piece. To avoid confusion with a successful British band also named The Primitives, they decided to change their name once again, to Uncle Tupelo. Although they performed only 1960s cover songs as The Primitives, the trio decided to take a new approach and write their own music under their new name.
Early career
The Primitives renamed itself Uncle Tupelo after a character in a cartoon drawn by Chuck Wagner, a friend of the band's members. The name was created by combining two randomly chosen words from the dictionary; inspired by the name, Wagner drew a picture of an old, fat Elvis. The trio recorded a four-song demo tape, which won them supporting roles at the concerts of artists such as Johnny Thunders and Warren Zevon. Tweedy met Tony Margherita while moonlighting as a record clerk in St. Louis. After attending a pair of the band's concerts, Margherita offered to become its manager. Uncle Tupelo began to play regular shows at Cicero's Basement—a bar close to the campus of Washington University. Bands playing in a similar style, including Brian Henneman's Chicken Truck, often played at the venue, which by late 1988 was considered to have been the origin of a new music scene. The band temporarily expanded to a four-piece with the addition of the guitarist Alex Mutrux, but soon reverted to a trio.
Uncle Tupelo recorded its first tracks in the attic studio of future Chicago punk producer Matt Allison in Champaign, Illinois. The demo Not Forever, Just for Now includes the songs "I Got Drunk" and "Screen Door", as well as early versions of several songs that would appear on their first studio album. The CMJ New Music Report gave the tape a rave review, and called Uncle Tupelo the best unsigned band of the year. The accolade attracted the attention of independent labels, and the band decided to sign with Jay Fialkov and Debbie Southwood-Smith of Giant Records (who offered to book them at CBGB in New York City). Explaining the decision, the band said that "[our] original goals don't get distorted with an independent label."
Recordings on Rockville Records
Shortly after Uncle Tupelo's signing, Giant Records changed its name to Rockville Records. The band's first album for Rockville, No Depression, was recorded over ten days in January 1990, at Fort Apache South recording studio in Boston, Massachusetts. The album's thematic structure revolved around their lives as adolescents in Belleville; examples are songs about wanting to avoid factory work and songs about fearing a potential Persian Gulf War military draft. Impressed by their previous work on Dinosaur Jr.'s Bug, the band wanted Paul Kolderie and Sean Slade to produce the album. Slade let Farrar play on the same 1961 Gibson Les Paul SG Junior that J. Mascis originally played on Bug. The album was released on June 21, 1990, and the band celebrated by playing at Cicero's for two nights.
In between tours, Farrar, Tweedy and Heidorn formed a country cover band named Coffee Creek, along with Brian Henneman (later a member of The Bottle Rockets). Henneman impressed Uncle Tupelo, and he was invited to be a guitar technician and occasional multi-instrumentalist for the band. While Farrar and Heidorn would avoid drinking too much after shows, Tweedy would continue drinking throughout the night. Although Tweedy stopped after he began dating Sue Miller in 1991, a significant communication gap had already been opened between Tweedy and Farrar.
By March 1991, No Depression had sold an estimated 15,000 copies, and was featured in a Rolling Stone article about rising stars. However, Rockville Records refused to pay the band any royalties for the album, a theme that would continue for the remainder of the band's contract. Over seventeen days the band recorded a second album at Long View Farm in rural North Brookfield, Massachusetts. Still Feel Gone, with a more layered sound, was also produced by Kolderie and Slade, with contributions by Slade, Henneman, Rich Gilbert, Chris Bess of Enormous Richard, and Gary Louris of The Jayhawks. The band was disappointed with the production of the album and decided to discontinue working with Kolderie and Slade. Soon afterward, Uncle Tupelo recorded "Shaking Hands (Soldier's Joy)" on Michelle Shocked's album Arkansas Traveler and joined her on the accompanying tour with Taj Mahal and The Band. However, the tour only lasted for a few shows because of managerial problems between Shocked and The Band.
Alternative rock had broken into the mainstream by 1992, and an album released in that style was expected to earn the group a major-label record deal. However, Uncle Tupelo did not want to follow in the footsteps of groups such as Nirvana, and decided to play country and folk songs "as a big 'fuck you' to the rock scene". Peter Buck, guitarist for R.E.M., saw the trio perform at the 40 Watt Club in Athens, Georgia and sought them out after the show. Buck was impressed with a version of "Atomic Power" that the band played, and offered his services for their next album. Over a span of five days, Buck produced the group's next album, March 16–20, 1992. Buck allowed them to stay in his house during the sessions, and charged no money for his services. Henneman's role was increased for this album, and he taught himself how to play mandolin and bouzouki. Despite turning away from the style of popular alternative rock, major labels began to show significant interest in Uncle Tupelo after March 16–20, 1992 was released. The album sold more than their two previous recordings combined, although Rockville was displeased that it did not conform to the style of popular alternative rock.
Major label contract
In 1992, Joe McEwen of Sire Records began to pursue the band. McEwen, who brought notable acts such as Dinosaur Jr. and Shawn Colvin to Sire, had been interested in them since hearing the Not Forever, Just for Now demo tape. At the urging of Gary Louris, McEwen offered Uncle Tupelo a contract. Band manager Tony Margherita invoked the $50,000 escape clause he had put in their Rockville contract, freeing the band to sign a seven-year deal with Sire. The deal required two albums and specified a budget of $150,000 for the first.
Around the time of the recording of March 16–20, 1992, Mike Heidorn had secured a steady job at a Belleville newspaper company and was dating a woman who had two children from a previous marriage. Uncle Tupelo had planned a tour of Europe, but Heidorn wanted to stay in Belleville with his girlfriend, whom he married in August 1992.
The band held auditions prior to the promotional tour for March 16–20, 1992, and two candidates stood out: Bill Belzer and Ken Coomer. Although Farrar and Tweedy agreed that Coomer was the better drummer, they were intimidated by his six-foot-four stature and long dreadlocks. The band instead selected Belzer as Heidorn's replacement, but he only stayed with the band for six months. Tweedy explained Belzer's departure:
I want to believe it was purely musical, and I honestly believe that it wasn't working musically. I also believe that we weren't emotionally mature enough to be close friends with a gay person at that point in our lives ... And Bill was and is a very proud and righteous gay person, very open about his homosexuality.
After touring Europe opening for Sugar, the band replaced Belzer with Coomer. The band also experimented with new members: John Stirratt replaced Brian Henneman (who left to form The Bottle Rockets) while Max Johnston, the brother of Michelle Shocked, joined as a live mandolin and violin performer. Stirratt became the full-time bassist, allowing Tweedy to perform more songs with the guitar.
Now a five-piece, Uncle Tupelo recorded their major label debut at Cedar Creek studio in Austin, Texas in early 1993. Anodyne consisted of live-in-the-studio recordings and included a duet with Farrar and Doug Sahm of the Sir Douglas Quintet. The album sold 150,000 copies, and was their only entry on the Billboard Heatseekers chart. The group toured until the end of the year, finishing with a sold-out concert at Tramps in New York City. Because of their concert draw, major executives at Sire began to see the band as a potential hit.
In 1993, the band contributed a cover of Creedence Clearwater Revival's track "Effigy" to the AIDS-Benefit album No Alternative produced by the Red Hot Organization.
Breakup
With the addition of Stirratt, Coomer, and Johnston just prior to the recording of Anodyne, Farrar and Tweedy's relationship became more tumultuous, leading to verbal altercations after concerts. In one account, Tweedy recalled:
Around this time, I would say something into a microphone onstage, and afterward [Farrar would] pull me aside and say, "Don't you ever fucking talk into that microphone again." He would misconstrue me talking into the microphone as more evidence of my out-of-control, rampant ego, more evidence of me feeling like I didn't have to be so fucking afraid anymore.
Tweedy felt the new members gave him a new opportunity to contribute to the band, but Farrar felt disdain for Tweedy's new carefree attitude. Years later, Farrar would claim that he had been tempted to quit the band after seeing Tweedy stroking the hair of Farrar's girlfriend, an act which he believed to have been a proposition. In January 1994, Farrar called manager Tony Margherita to inform him of his decision to leave the band. Farrar told Margherita that he was no longer having fun, and did not want to work with Tweedy anymore. Soon after the breakup, Farrar explained his departure: "It just seemed like it reached a point where Jeff and I really weren't compatible. It had ceased to be a symbiotic songwriting relationship, probably after the first record."
Tweedy was enraged that he heard the news secondhand from Margherita, rather than directly from Farrar. The following day, the two engaged in a verbal confrontation. As a favor to Margherita, who had spent a substantial amount of money to keep the band running, Farrar agreed to a final tour with Uncle Tupelo in North America. Tweedy and Farrar again engaged in a shouting match two weeks into the tour, due to Farrar's refusal to sing harmony on any of Tweedy's songs. The band made its first appearance on national television during the tour when they were featured on Late Night with Conan O'Brien. Sire had requested that the band perform "The Long Cut" on the show, which further irked Farrar since the song was written and sung by Tweedy.
Uncle Tupelo's last concerts, two shows at The Blue Note in Columbia, Missouri and two shows at Mississippi Nights in St. Louis, took place from April 28 to May 1, 1994. A special "last leg" poster was created for the occasion which facetiously promoted the band as "St. Louis's 4th best country band", based on a readers' poll in the Riverfront Times. On the last night, Tweedy and Farrar each performed nine songs during the concert, and Mike Heidorn performed as drummer during the encore.
Post-breakup
Following Uncle Tupelo's final tour, Tweedy encouraged his bandmates to join him in a new group, while Farrar searched for members for a band of his own. Tweedy was able to retain the rest of the Uncle Tupelo lineup, and created Wilco. They began rehearsing a few days after the final Uncle Tupelo concert, and by August 1994 they were in the recording studio for their first album, A.M.. Farrar asked Jim Boquist to join his new band, Son Volt; Boquist was a multi-instrumentalist who had performed with Joe Henry as the opening act on Uncle Tupelo's last tour. Boquist also recruited his brother Dave, and Farrar convinced Mike Heidorn to leave Belleville to join the group. Farrar's new four-piece began recording their debut album Trace in November 1994.
Wilco signed to Reprise Records while Son Volt signed with Warner Bros. Records. Son Volt had an early college rock hit with "Drown" from the album Trace, but Wilco maintained a more commercially successful career in the years to follow. Regarding the possibility of a reunion, Mike Heidorn reported in a PopMatters interview that "nothing's ever for sure, but I would have to say, 'No such thing'." Farrar said that he does not want the band to get back together, while Tweedy said that he believes that a reunion would not be productive musically.
Farrar and Tweedy sued Rockville Records and Dutch East India Trading CEO Barry Tenenbaum in 2000 over royalties that the label allegedly owed them, winning restitution from Tenenbaum and the joint rights to Uncle Tupelo's first three albums. After securing the rights, the band released a compilation entitled 89/93: An Anthology. In 2003, Uncle Tupelo re-issued their first three albums, which before the lawsuit had cumulatively sold over 200,000 copies.
Influences
As The Primitives, Tweedy and Farrar were highly influenced by punk bands such as The Ramones and The Sex Pistols. However, they began to listen to country music because punk rock was not well received in the Belleville and St. Louis music scenes. While they originally were introduced to country by their parents, it was not until this time that they began to listen to it for leisure. Farrar typically wrote songs about Middle America, while Tweedy wrote about more mainstream topics such as relationships. Farrar took influence from authors such as Kurt Vonnegut and Jack Kerouac, whom he read while working at his mother's bookstore. As a singer, Farrar's lyrics would be front-and-center during performances, but the band's musical style was mostly driven by Tweedy and Heidorn. Jeff Tweedy said in an interview with the St. Louis Post-Dispatch:
We probably have more influences than we know what to do with. We have two main styles that have been influences. For instance, we like Black Flag as much as early Bob Dylan and Dinosaur Jr. as much as Hank Williams... To us, hard-core punk is also folk music. We draw a close parallel between the two. We'll play both in the same set if we get a chance. We don't have any biases as far as music is concerned.
Tweedy in particular was inspired by the Minutemen, and wrote a song about D. Boon following Boon's death in a van accident. The band has released songs originally performed by Creedence Clearwater Revival, The Carter Family, Lead Belly, Gram Parsons, The Soft Boys, The Louvin Brothers, Texas Tornados, and The Stooges. Releasing March 16–20, 1992 when alternative music was breaking through was a move inspired by Neil Young's decision to release the challenging albums On the Beach and Tonight's the Night immediately after the commercially successful Harvest. Critic Michael Corcoran likened the band's musical style to "Bob Mould fronting Soul Asylum on a speeded-up version of a Gram Parsons song."
Legacy
Uncle Tupelo is credited as one of the founders of the alternative country genre, a blend of alternative rock and traditional country music. While the genre eventually became associated with solo artists such as Gram Parsons and Lyle Lovett, Uncle Tupelo is considered the first alternative country band. Some media outlets like the BBC have even suggested that they were the genre's sole creator. However, Tweedy and Heidorn dispute this claim, and Farrar says that there is no difference between alternative country and other genres such as roots rock. Heidorn commented in a Country Standard Time interview:
It's strange to hear Uncle Tupelo mentioned because what we were doing was in such a long line of musical history. People are wrong in starting with us and saying we started anything because we were just picking up the ball, starting with Woody Guthrie and on to the early '60s and the Flying Burrito Brothers that we were influenced by. We didn't start a genre. We contributed to a long line of fairly good music. That's the way we looked at it at the time—doing what was right for the song.
The band's first three albums influenced contemporary roots rock artists such as Richmond Fontaine and Whiskeytown. Uncle Tupelo's usage of distorted guitars to play a style of music that was known for its earnestness became a lasting trend in 1990s modern rock. Jason Ankeny wrote in AllMusic that:
With the release of their 1990 debut LP, No Depression, the Belleville, IL, trio Uncle Tupelo launched more than simply their own career—by fusing the simplicity and honesty of country music with the bracing fury of punk, they kick-started a revolution which reverberated throughout the American underground.
Their 1990 album No Depression lent its name to an influential alternative country periodical. Due to the influence of the album and periodical, the term "No Depression" became a byword for alternative country—particularly for bands with punk rock influence. The alternative country movement played an important role in the success of future traditionalist country acts such as Robbie Fulks and Shelby Lynne.
Members
Jay Farrar – vocals, guitar (1987–1994)
Mike Heidorn – drums (1987–1992)
Jeff Tweedy – vocals, bass, guitar (1987–1994)
Bill Belzer – drums (1992)
Ken Coomer – drums (1992–1994)
Max Johnston – violin, mandolin (1992–1994)
John Stirratt – bass, guitar (1992–1994)
Timeline
Discography
Studio albums
Compilations
Demo tapes
All demo tapes are self-released on cassette.
Singles
Contributions
Uncle Tupelo also recorded a one-hour radio special that was released by Legacy Records in 2003. Legacy only distributed the CD, entitled The Long Cut: A One Hour Radio Special, to non-commercial radio stations as a way to promote the re-issues of the band's studio albums. The special is hosted by Lauren Frey and features interviews by Farrar, Tweedy, and Heidorn.
Notes
References
External links
Factory Belt: The Unofficial Uncle Tupelo Archives
Postcard From Hell Mailing List
American alternative country groups
American country rock groups
Musical groups from St. Louis
Musical groups disestablished in 1994
Musical groups established in 1987
Musical groups from Illinois
Wilco
1987 establishments in Illinois
Sire Records artists
Dutch East India Trading artists
Giant Records (independent) artists
| true |
[
"The 1985 Soviet Chess Championship was the 52nd edition of USSR Chess Championship. Held from 22 January to 19 February 1985 in Lvov. The title was won by Mikhail Gurevich. Semifinals took place in Barnaul, Borjomi and Lvov; two First League tournaments (also qualifying to the final) was held at Sverdlovsk and Tashkent.\n\nQualifying\n\nSemifinals \nSemifinals took place at Barnaul, Borjomi e Lvov in August 1984.\n\nFirst League \nBoth top five qualified for the final.\n\nFinal\n\nPlay-off \nFirst place was shared by Gavrikov, Gurevich and Chemin. The play-off saw all games end in draws. While the chess officials were pondering\nwhat to do next, a journalist announced that there would be no further play and Gurevich would be winner on tie-break from the final contest, what was accepted. So Mikhail Gurevich received the gold medal. Mark Taimanov notes that superior tie-break in the final had never been taken into account before.\n\nReferences \n\nUSSR Chess Championships\nChess\n1985 in chess\n1985 in Soviet sport",
"\"Post Break-Up Sex\" is the second single from London-based quartet the Vaccines from their debut album, What Did You Expect from The Vaccines?. The single was released in the United Kingdom as a digital download on 21 January 2011 with a 7\" vinyl released the following day. The single debuted at number 32 on the UK Singles Chart on 30 January 2011.\n\nTrack listing\n\nMusic video\nA music video to accompany the release of \"Post Break-Up Sex\" was first released onto YouTube on 15 December 2010; at a total length of two minutes and fifty-six seconds. The video features the quartet performing the song in a living room, although Young is predominantly featured throughout. The video then alternates between shots of the performance and clips of the woman, as mentioned in the song's lyrics, who is regretting the post break-up sex she had with a male; who is featured besides her in the video. For the final minute of the music video, a montage of upset adults are shown; symbolising all those who have either had post break-up sex or have been at the mercy of it.\n\nCritical reception\nJon Davies of Shazamers' Blog gave the song a positive review stating:\n\nPredictably the track is inspired by those, quite often awkward, moments when you’re trying to put a relationship behind you. Thankfully, despite the morose subject matter, the song continues the band’s string of addictive singles. Short, punchy and with a chorus that will refuse to leave your head for weeks, ‘Post Break Up Sex’ is a great slice of fuzzy guitar driven pop.\n\nRecord Store Day\nIt was announced in March 2012 that the band would be re-releasing \"Post Break-Up Sex\" as a 7\" Vinyl as part of Record Store Day 2012. On April 2, it was revealed that the track would be recorded by American singer-songwriter R. Stevie Moore and released as a double A-side alongside the group's recording of Moore's \"Why Should I Love You?\". The vinyl was limited to 500 copies, which saw release on 21 April 2012.\n\nChart performance\nAccording to the Midweeks produced by Digital Spy on 25 January 2011, \"Post Break-Up Sex\" was set to debut within the top 20 on the UK Singles Chart. However, on 30 January, it debuted at number 32. The single spent only one week within the top 40, falling 23 places to number 53 on its second week. On 13 February, the single fell a further 13 places to number 66; marking its third and final week on the top 100.\n\nCharts\n\nCertifications\n\nRelease history\n\nReferences\n\n2011 singles\nThe Vaccines songs\nColumbia Records singles"
] |
[
"Uncle Tupelo",
"Post-breakup",
"what took place post break up?",
"Tweedy encouraged his bandmates to join him in a new group, while Farrar searched for members for a band of his own."
] |
C_eea056c49cca401a93366614591e197d_0
|
when did they start recording?
| 2 |
when did Uncle Tupelo start recording?
|
Uncle Tupelo
|
Following Uncle Tupelo's final tour, Tweedy encouraged his bandmates to join him in a new group, while Farrar searched for members for a band of his own. Tweedy was able to retain the rest of the Uncle Tupelo lineup, and created Wilco. Wilco began rehearsing a few days after the final Uncle Tupelo concert, and by August 1994 they were in the recording studio for their first album, A.M.. Farrar asked Jim Boquist to join his new band, Son Volt; Boquist was a multi-instrumentalist who had performed with Joe Henry as the opening act on Uncle Tupelo's last tour. Boquist also recruited his brother Dave, and Farrar convinced Mike Heidorn to leave Belleville to join the group. Farrar's new four-piece began recording their debut album Trace in November 1994. Wilco signed to Reprise Records while Son Volt signed with Warner Bros. Records. Son Volt had an early college rock hit with "Drown" from the album Trace, but Wilco maintained a more commercially successful career in the years to follow. Regarding the possibility of a reunion, Mike Heidorn reported in a PopMatters interview that "nothing's ever for sure, but I would have to say, 'No such thing' ". Farrar said that he does not want the band to get back together, while Tweedy said that he believes that a reunion would not be productive musically. Farrar and Tweedy sued Rockville Records and Dutch East India Trading CEO Barry Tenenbaum in 2000 over royalties that the label allegedly owed them, winning reparations from Tenenbaum and the joint rights to Uncle Tupelo's first three albums. After securing the rights, the band released a compilation entitled 89/93: An Anthology. In 2003, Uncle Tupelo re-issued their first three albums, which before the lawsuit had cumulatively sold over 200,000 copies. CANNOTANSWER
|
by August 1994 they were in the recording studio for their first album,
|
Uncle Tupelo was an alternative country music group from Belleville, Illinois, active between 1987 and 1994. Jay Farrar, Jeff Tweedy, and Mike Heidorn formed the band after the lead singer of their previous band, The Primitives, left to attend college. The trio recorded three albums for Rockville Records, before signing with Sire Records and expanding to a five-piece. Shortly after the release of the band's major label debut album Anodyne, Farrar announced his decision to leave the band due to a soured relationship with his co-songwriter Tweedy. Uncle Tupelo split on May 1, 1994, after completing a farewell tour. Following the breakup, Farrar formed Son Volt with Heidorn, while the remaining members continued as Wilco.
Although Uncle Tupelo broke up before it achieved commercial success, the band is renowned for its impact on the alternative country music scene. The group's first album, No Depression, became a byword for the genre and was widely influential. Uncle Tupelo's sound was unlike popular country music of the time, drawing inspiration from styles as diverse as the hardcore punk of The Minutemen and the country instrumentation and harmony of the Carter Family and Hank Williams. Farrar and Tweedy's lyrics frequently referred to Middle America and the working class of Belleville.
History
The Plebes and The Primitives
Jay Farrar, along with his brothers Wade and Dade, played in an early 1980s garage band named The Plebes. Hailing from Belleville, Illinois, The Plebes sought to enter a battle-of-the-bands competition but needed another high school student as a member to perform. They invited Jeff Tweedy, a high school friend of Jay Farrar, to join the band and play with them for the show. Despite a lack of skill with his instrument, Tweedy played an important role in the band by booking early gigs. While The Plebes had been playing music in a rockabilly style, Tweedy wanted to play punk rock like the music that he originally heard the group perform. This caused tensions between Tweedy and Dade Farrar, who left the band two months after Tweedy joined.
Before leaving the band in 1984, Dade Farrar introduced its members to Mike Heidorn, the younger brother of his girlfriend; Heidorn then joined the group as their drummer. The Plebes then decided to change its name to The Primitives, a reference to a 1965 song by psychedelic rock group The Groupies. Due to the unpopularity of punk rock in the St. Louis area, The Primitives began to play blues-oriented garage rock at fast tempos. They performed regularly at a wedding hall in Millstadt, Illinois, where Tweedy's mother Jo Ann would collect the cover fee. They also performed regularly at B St Bar in Belleville with bands such as The Newsboys (later Sammy and the Snowmonkeys), Charlie Langrehr, and The Symptoms. Wade Farrar was the lead singer of the band, but his commitment to Southern Illinois University and an attempted enlistment in the United States Army meant he was only able to dedicate a small amount of time to the group. Additionally, Heidorn broke his collarbone during a concert in 1986, which caused the band to go on hiatus. Jay Farrar and Tweedy continued to write songs and perform at Heidorn's house while he recovered, and by 1987 they had restarted the group. The Primitives temporarily added Tony Mayr as a bassist so that Tweedy could play guitar, but a month later the band decided to keep Tweedy on bass and remain a three-piece. To avoid confusion with a successful British band also named The Primitives, they decided to change their name once again, to Uncle Tupelo. Although they performed only 1960s cover songs as The Primitives, the trio decided to take a new approach and write their own music under their new name.
Early career
The Primitives renamed itself Uncle Tupelo after a character in a cartoon drawn by Chuck Wagner, a friend of the band's members. The name was created by combining two randomly chosen words from the dictionary; inspired by the name, Wagner drew a picture of an old, fat Elvis. The trio recorded a four-song demo tape, which won them supporting roles at the concerts of artists such as Johnny Thunders and Warren Zevon. Tweedy met Tony Margherita while moonlighting as a record clerk in St. Louis. After attending a pair of the band's concerts, Margherita offered to become its manager. Uncle Tupelo began to play regular shows at Cicero's Basement—a bar close to the campus of Washington University. Bands playing in a similar style, including Brian Henneman's Chicken Truck, often played at the venue, which by late 1988 was considered to have been the origin of a new music scene. The band temporarily expanded to a four-piece with the addition of the guitarist Alex Mutrux, but soon reverted to a trio.
Uncle Tupelo recorded its first tracks in the attic studio of future Chicago punk producer Matt Allison in Champaign, Illinois. The demo Not Forever, Just for Now includes the songs "I Got Drunk" and "Screen Door", as well as early versions of several songs that would appear on their first studio album. The CMJ New Music Report gave the tape a rave review, and called Uncle Tupelo the best unsigned band of the year. The accolade attracted the attention of independent labels, and the band decided to sign with Jay Fialkov and Debbie Southwood-Smith of Giant Records (who offered to book them at CBGB in New York City). Explaining the decision, the band said that "[our] original goals don't get distorted with an independent label."
Recordings on Rockville Records
Shortly after Uncle Tupelo's signing, Giant Records changed its name to Rockville Records. The band's first album for Rockville, No Depression, was recorded over ten days in January 1990, at Fort Apache South recording studio in Boston, Massachusetts. The album's thematic structure revolved around their lives as adolescents in Belleville; examples are songs about wanting to avoid factory work and songs about fearing a potential Persian Gulf War military draft. Impressed by their previous work on Dinosaur Jr.'s Bug, the band wanted Paul Kolderie and Sean Slade to produce the album. Slade let Farrar play on the same 1961 Gibson Les Paul SG Junior that J. Mascis originally played on Bug. The album was released on June 21, 1990, and the band celebrated by playing at Cicero's for two nights.
In between tours, Farrar, Tweedy and Heidorn formed a country cover band named Coffee Creek, along with Brian Henneman (later a member of The Bottle Rockets). Henneman impressed Uncle Tupelo, and he was invited to be a guitar technician and occasional multi-instrumentalist for the band. While Farrar and Heidorn would avoid drinking too much after shows, Tweedy would continue drinking throughout the night. Although Tweedy stopped after he began dating Sue Miller in 1991, a significant communication gap had already been opened between Tweedy and Farrar.
By March 1991, No Depression had sold an estimated 15,000 copies, and was featured in a Rolling Stone article about rising stars. However, Rockville Records refused to pay the band any royalties for the album, a theme that would continue for the remainder of the band's contract. Over seventeen days the band recorded a second album at Long View Farm in rural North Brookfield, Massachusetts. Still Feel Gone, with a more layered sound, was also produced by Kolderie and Slade, with contributions by Slade, Henneman, Rich Gilbert, Chris Bess of Enormous Richard, and Gary Louris of The Jayhawks. The band was disappointed with the production of the album and decided to discontinue working with Kolderie and Slade. Soon afterward, Uncle Tupelo recorded "Shaking Hands (Soldier's Joy)" on Michelle Shocked's album Arkansas Traveler and joined her on the accompanying tour with Taj Mahal and The Band. However, the tour only lasted for a few shows because of managerial problems between Shocked and The Band.
Alternative rock had broken into the mainstream by 1992, and an album released in that style was expected to earn the group a major-label record deal. However, Uncle Tupelo did not want to follow in the footsteps of groups such as Nirvana, and decided to play country and folk songs "as a big 'fuck you' to the rock scene". Peter Buck, guitarist for R.E.M., saw the trio perform at the 40 Watt Club in Athens, Georgia and sought them out after the show. Buck was impressed with a version of "Atomic Power" that the band played, and offered his services for their next album. Over a span of five days, Buck produced the group's next album, March 16–20, 1992. Buck allowed them to stay in his house during the sessions, and charged no money for his services. Henneman's role was increased for this album, and he taught himself how to play mandolin and bouzouki. Despite turning away from the style of popular alternative rock, major labels began to show significant interest in Uncle Tupelo after March 16–20, 1992 was released. The album sold more than their two previous recordings combined, although Rockville was displeased that it did not conform to the style of popular alternative rock.
Major label contract
In 1992, Joe McEwen of Sire Records began to pursue the band. McEwen, who brought notable acts such as Dinosaur Jr. and Shawn Colvin to Sire, had been interested in them since hearing the Not Forever, Just for Now demo tape. At the urging of Gary Louris, McEwen offered Uncle Tupelo a contract. Band manager Tony Margherita invoked the $50,000 escape clause he had put in their Rockville contract, freeing the band to sign a seven-year deal with Sire. The deal required two albums and specified a budget of $150,000 for the first.
Around the time of the recording of March 16–20, 1992, Mike Heidorn had secured a steady job at a Belleville newspaper company and was dating a woman who had two children from a previous marriage. Uncle Tupelo had planned a tour of Europe, but Heidorn wanted to stay in Belleville with his girlfriend, whom he married in August 1992.
The band held auditions prior to the promotional tour for March 16–20, 1992, and two candidates stood out: Bill Belzer and Ken Coomer. Although Farrar and Tweedy agreed that Coomer was the better drummer, they were intimidated by his six-foot-four stature and long dreadlocks. The band instead selected Belzer as Heidorn's replacement, but he only stayed with the band for six months. Tweedy explained Belzer's departure:
I want to believe it was purely musical, and I honestly believe that it wasn't working musically. I also believe that we weren't emotionally mature enough to be close friends with a gay person at that point in our lives ... And Bill was and is a very proud and righteous gay person, very open about his homosexuality.
After touring Europe opening for Sugar, the band replaced Belzer with Coomer. The band also experimented with new members: John Stirratt replaced Brian Henneman (who left to form The Bottle Rockets) while Max Johnston, the brother of Michelle Shocked, joined as a live mandolin and violin performer. Stirratt became the full-time bassist, allowing Tweedy to perform more songs with the guitar.
Now a five-piece, Uncle Tupelo recorded their major label debut at Cedar Creek studio in Austin, Texas in early 1993. Anodyne consisted of live-in-the-studio recordings and included a duet with Farrar and Doug Sahm of the Sir Douglas Quintet. The album sold 150,000 copies, and was their only entry on the Billboard Heatseekers chart. The group toured until the end of the year, finishing with a sold-out concert at Tramps in New York City. Because of their concert draw, major executives at Sire began to see the band as a potential hit.
In 1993, the band contributed a cover of Creedence Clearwater Revival's track "Effigy" to the AIDS-Benefit album No Alternative produced by the Red Hot Organization.
Breakup
With the addition of Stirratt, Coomer, and Johnston just prior to the recording of Anodyne, Farrar and Tweedy's relationship became more tumultuous, leading to verbal altercations after concerts. In one account, Tweedy recalled:
Around this time, I would say something into a microphone onstage, and afterward [Farrar would] pull me aside and say, "Don't you ever fucking talk into that microphone again." He would misconstrue me talking into the microphone as more evidence of my out-of-control, rampant ego, more evidence of me feeling like I didn't have to be so fucking afraid anymore.
Tweedy felt the new members gave him a new opportunity to contribute to the band, but Farrar felt disdain for Tweedy's new carefree attitude. Years later, Farrar would claim that he had been tempted to quit the band after seeing Tweedy stroking the hair of Farrar's girlfriend, an act which he believed to have been a proposition. In January 1994, Farrar called manager Tony Margherita to inform him of his decision to leave the band. Farrar told Margherita that he was no longer having fun, and did not want to work with Tweedy anymore. Soon after the breakup, Farrar explained his departure: "It just seemed like it reached a point where Jeff and I really weren't compatible. It had ceased to be a symbiotic songwriting relationship, probably after the first record."
Tweedy was enraged that he heard the news secondhand from Margherita, rather than directly from Farrar. The following day, the two engaged in a verbal confrontation. As a favor to Margherita, who had spent a substantial amount of money to keep the band running, Farrar agreed to a final tour with Uncle Tupelo in North America. Tweedy and Farrar again engaged in a shouting match two weeks into the tour, due to Farrar's refusal to sing harmony on any of Tweedy's songs. The band made its first appearance on national television during the tour when they were featured on Late Night with Conan O'Brien. Sire had requested that the band perform "The Long Cut" on the show, which further irked Farrar since the song was written and sung by Tweedy.
Uncle Tupelo's last concerts, two shows at The Blue Note in Columbia, Missouri and two shows at Mississippi Nights in St. Louis, took place from April 28 to May 1, 1994. A special "last leg" poster was created for the occasion which facetiously promoted the band as "St. Louis's 4th best country band", based on a readers' poll in the Riverfront Times. On the last night, Tweedy and Farrar each performed nine songs during the concert, and Mike Heidorn performed as drummer during the encore.
Post-breakup
Following Uncle Tupelo's final tour, Tweedy encouraged his bandmates to join him in a new group, while Farrar searched for members for a band of his own. Tweedy was able to retain the rest of the Uncle Tupelo lineup, and created Wilco. They began rehearsing a few days after the final Uncle Tupelo concert, and by August 1994 they were in the recording studio for their first album, A.M.. Farrar asked Jim Boquist to join his new band, Son Volt; Boquist was a multi-instrumentalist who had performed with Joe Henry as the opening act on Uncle Tupelo's last tour. Boquist also recruited his brother Dave, and Farrar convinced Mike Heidorn to leave Belleville to join the group. Farrar's new four-piece began recording their debut album Trace in November 1994.
Wilco signed to Reprise Records while Son Volt signed with Warner Bros. Records. Son Volt had an early college rock hit with "Drown" from the album Trace, but Wilco maintained a more commercially successful career in the years to follow. Regarding the possibility of a reunion, Mike Heidorn reported in a PopMatters interview that "nothing's ever for sure, but I would have to say, 'No such thing'." Farrar said that he does not want the band to get back together, while Tweedy said that he believes that a reunion would not be productive musically.
Farrar and Tweedy sued Rockville Records and Dutch East India Trading CEO Barry Tenenbaum in 2000 over royalties that the label allegedly owed them, winning restitution from Tenenbaum and the joint rights to Uncle Tupelo's first three albums. After securing the rights, the band released a compilation entitled 89/93: An Anthology. In 2003, Uncle Tupelo re-issued their first three albums, which before the lawsuit had cumulatively sold over 200,000 copies.
Influences
As The Primitives, Tweedy and Farrar were highly influenced by punk bands such as The Ramones and The Sex Pistols. However, they began to listen to country music because punk rock was not well received in the Belleville and St. Louis music scenes. While they originally were introduced to country by their parents, it was not until this time that they began to listen to it for leisure. Farrar typically wrote songs about Middle America, while Tweedy wrote about more mainstream topics such as relationships. Farrar took influence from authors such as Kurt Vonnegut and Jack Kerouac, whom he read while working at his mother's bookstore. As a singer, Farrar's lyrics would be front-and-center during performances, but the band's musical style was mostly driven by Tweedy and Heidorn. Jeff Tweedy said in an interview with the St. Louis Post-Dispatch:
We probably have more influences than we know what to do with. We have two main styles that have been influences. For instance, we like Black Flag as much as early Bob Dylan and Dinosaur Jr. as much as Hank Williams... To us, hard-core punk is also folk music. We draw a close parallel between the two. We'll play both in the same set if we get a chance. We don't have any biases as far as music is concerned.
Tweedy in particular was inspired by the Minutemen, and wrote a song about D. Boon following Boon's death in a van accident. The band has released songs originally performed by Creedence Clearwater Revival, The Carter Family, Lead Belly, Gram Parsons, The Soft Boys, The Louvin Brothers, Texas Tornados, and The Stooges. Releasing March 16–20, 1992 when alternative music was breaking through was a move inspired by Neil Young's decision to release the challenging albums On the Beach and Tonight's the Night immediately after the commercially successful Harvest. Critic Michael Corcoran likened the band's musical style to "Bob Mould fronting Soul Asylum on a speeded-up version of a Gram Parsons song."
Legacy
Uncle Tupelo is credited as one of the founders of the alternative country genre, a blend of alternative rock and traditional country music. While the genre eventually became associated with solo artists such as Gram Parsons and Lyle Lovett, Uncle Tupelo is considered the first alternative country band. Some media outlets like the BBC have even suggested that they were the genre's sole creator. However, Tweedy and Heidorn dispute this claim, and Farrar says that there is no difference between alternative country and other genres such as roots rock. Heidorn commented in a Country Standard Time interview:
It's strange to hear Uncle Tupelo mentioned because what we were doing was in such a long line of musical history. People are wrong in starting with us and saying we started anything because we were just picking up the ball, starting with Woody Guthrie and on to the early '60s and the Flying Burrito Brothers that we were influenced by. We didn't start a genre. We contributed to a long line of fairly good music. That's the way we looked at it at the time—doing what was right for the song.
The band's first three albums influenced contemporary roots rock artists such as Richmond Fontaine and Whiskeytown. Uncle Tupelo's usage of distorted guitars to play a style of music that was known for its earnestness became a lasting trend in 1990s modern rock. Jason Ankeny wrote in AllMusic that:
With the release of their 1990 debut LP, No Depression, the Belleville, IL, trio Uncle Tupelo launched more than simply their own career—by fusing the simplicity and honesty of country music with the bracing fury of punk, they kick-started a revolution which reverberated throughout the American underground.
Their 1990 album No Depression lent its name to an influential alternative country periodical. Due to the influence of the album and periodical, the term "No Depression" became a byword for alternative country—particularly for bands with punk rock influence. The alternative country movement played an important role in the success of future traditionalist country acts such as Robbie Fulks and Shelby Lynne.
Members
Jay Farrar – vocals, guitar (1987–1994)
Mike Heidorn – drums (1987–1992)
Jeff Tweedy – vocals, bass, guitar (1987–1994)
Bill Belzer – drums (1992)
Ken Coomer – drums (1992–1994)
Max Johnston – violin, mandolin (1992–1994)
John Stirratt – bass, guitar (1992–1994)
Timeline
Discography
Studio albums
Compilations
Demo tapes
All demo tapes are self-released on cassette.
Singles
Contributions
Uncle Tupelo also recorded a one-hour radio special that was released by Legacy Records in 2003. Legacy only distributed the CD, entitled The Long Cut: A One Hour Radio Special, to non-commercial radio stations as a way to promote the re-issues of the band's studio albums. The special is hosted by Lauren Frey and features interviews by Farrar, Tweedy, and Heidorn.
Notes
References
External links
Factory Belt: The Unofficial Uncle Tupelo Archives
Postcard From Hell Mailing List
American alternative country groups
American country rock groups
Musical groups from St. Louis
Musical groups disestablished in 1994
Musical groups established in 1987
Musical groups from Illinois
Wilco
1987 establishments in Illinois
Sire Records artists
Dutch East India Trading artists
Giant Records (independent) artists
| true |
[
"Start Talking is the self-produced debut album from Swedish heavy metal band Bulletrain, released 24 October 2014, through Metal Heaven records.\n\nRecording process\n\nThe recordings for the band's debut began as early as in late 2011 when the group decided to record their third EP. It was later cancelled when they parted ways with the singer Mike Palace in 2012. Since the group had such amount of material already they took the chance and started recording the music for a full-length album. Together with Marcus Forsberg at Tweak Studios in Helsingborg they started the recording process in 2013. In the winter of 2013, Bulletrain went to Stockholm to finish the record with the vocals for the album with the producers RamPac (Johan Ramström, Patrik Magnusson). It was mixed and mastered by Buster Odeholm.\n\nTrack listing\n\nSingles\n \"Out of Control\"\n \"Phantom Pain\"\n\nPersonnel\nJonas Tillheden - drums, backing vocals\nMattias Persson - lead guitar, backing vocals\nRobin Bengtsson - rhythm guitar, backing vocals\nSebastian Sundberg - lead vocals\nNiklas Månsson - bass guitar, backing vocals\n\nAdditional musicians\n\nGustav Bergström, bass guitar on tracks \"From the bottom of my heart\", \"Out of control\" and \"Phantom pain\".\nKalle Yttergren, backing vocals on tracks \"Dicing with death\" and \"Joanna's secret\".\n\nReferences\n\nStart Talking Markus'Heavy Music Blog.com Retrieved November 24, 2014\n Melodic Rock.com Retrieved November 24, 2014\n Classic Rock.com Retrieved November 24, 2014\n\nExternal links\n Official website\n Metal Heaven\n\n2014 debut albums\nBulletrain albums",
"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"
] |
[
"Uncle Tupelo",
"Post-breakup",
"what took place post break up?",
"Tweedy encouraged his bandmates to join him in a new group, while Farrar searched for members for a band of his own.",
"when did they start recording?",
"by August 1994 they were in the recording studio for their first album,"
] |
C_eea056c49cca401a93366614591e197d_0
|
Are there any other interesting aspects about this article?
| 3 |
Are there any other interesting aspects about this article in addition to the breakup of Uncle Tupelo?
|
Uncle Tupelo
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Following Uncle Tupelo's final tour, Tweedy encouraged his bandmates to join him in a new group, while Farrar searched for members for a band of his own. Tweedy was able to retain the rest of the Uncle Tupelo lineup, and created Wilco. Wilco began rehearsing a few days after the final Uncle Tupelo concert, and by August 1994 they were in the recording studio for their first album, A.M.. Farrar asked Jim Boquist to join his new band, Son Volt; Boquist was a multi-instrumentalist who had performed with Joe Henry as the opening act on Uncle Tupelo's last tour. Boquist also recruited his brother Dave, and Farrar convinced Mike Heidorn to leave Belleville to join the group. Farrar's new four-piece began recording their debut album Trace in November 1994. Wilco signed to Reprise Records while Son Volt signed with Warner Bros. Records. Son Volt had an early college rock hit with "Drown" from the album Trace, but Wilco maintained a more commercially successful career in the years to follow. Regarding the possibility of a reunion, Mike Heidorn reported in a PopMatters interview that "nothing's ever for sure, but I would have to say, 'No such thing' ". Farrar said that he does not want the band to get back together, while Tweedy said that he believes that a reunion would not be productive musically. Farrar and Tweedy sued Rockville Records and Dutch East India Trading CEO Barry Tenenbaum in 2000 over royalties that the label allegedly owed them, winning reparations from Tenenbaum and the joint rights to Uncle Tupelo's first three albums. After securing the rights, the band released a compilation entitled 89/93: An Anthology. In 2003, Uncle Tupelo re-issued their first three albums, which before the lawsuit had cumulatively sold over 200,000 copies. CANNOTANSWER
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Wilco signed to Reprise Records while Son Volt signed with Warner Bros. Records.
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Uncle Tupelo was an alternative country music group from Belleville, Illinois, active between 1987 and 1994. Jay Farrar, Jeff Tweedy, and Mike Heidorn formed the band after the lead singer of their previous band, The Primitives, left to attend college. The trio recorded three albums for Rockville Records, before signing with Sire Records and expanding to a five-piece. Shortly after the release of the band's major label debut album Anodyne, Farrar announced his decision to leave the band due to a soured relationship with his co-songwriter Tweedy. Uncle Tupelo split on May 1, 1994, after completing a farewell tour. Following the breakup, Farrar formed Son Volt with Heidorn, while the remaining members continued as Wilco.
Although Uncle Tupelo broke up before it achieved commercial success, the band is renowned for its impact on the alternative country music scene. The group's first album, No Depression, became a byword for the genre and was widely influential. Uncle Tupelo's sound was unlike popular country music of the time, drawing inspiration from styles as diverse as the hardcore punk of The Minutemen and the country instrumentation and harmony of the Carter Family and Hank Williams. Farrar and Tweedy's lyrics frequently referred to Middle America and the working class of Belleville.
History
The Plebes and The Primitives
Jay Farrar, along with his brothers Wade and Dade, played in an early 1980s garage band named The Plebes. Hailing from Belleville, Illinois, The Plebes sought to enter a battle-of-the-bands competition but needed another high school student as a member to perform. They invited Jeff Tweedy, a high school friend of Jay Farrar, to join the band and play with them for the show. Despite a lack of skill with his instrument, Tweedy played an important role in the band by booking early gigs. While The Plebes had been playing music in a rockabilly style, Tweedy wanted to play punk rock like the music that he originally heard the group perform. This caused tensions between Tweedy and Dade Farrar, who left the band two months after Tweedy joined.
Before leaving the band in 1984, Dade Farrar introduced its members to Mike Heidorn, the younger brother of his girlfriend; Heidorn then joined the group as their drummer. The Plebes then decided to change its name to The Primitives, a reference to a 1965 song by psychedelic rock group The Groupies. Due to the unpopularity of punk rock in the St. Louis area, The Primitives began to play blues-oriented garage rock at fast tempos. They performed regularly at a wedding hall in Millstadt, Illinois, where Tweedy's mother Jo Ann would collect the cover fee. They also performed regularly at B St Bar in Belleville with bands such as The Newsboys (later Sammy and the Snowmonkeys), Charlie Langrehr, and The Symptoms. Wade Farrar was the lead singer of the band, but his commitment to Southern Illinois University and an attempted enlistment in the United States Army meant he was only able to dedicate a small amount of time to the group. Additionally, Heidorn broke his collarbone during a concert in 1986, which caused the band to go on hiatus. Jay Farrar and Tweedy continued to write songs and perform at Heidorn's house while he recovered, and by 1987 they had restarted the group. The Primitives temporarily added Tony Mayr as a bassist so that Tweedy could play guitar, but a month later the band decided to keep Tweedy on bass and remain a three-piece. To avoid confusion with a successful British band also named The Primitives, they decided to change their name once again, to Uncle Tupelo. Although they performed only 1960s cover songs as The Primitives, the trio decided to take a new approach and write their own music under their new name.
Early career
The Primitives renamed itself Uncle Tupelo after a character in a cartoon drawn by Chuck Wagner, a friend of the band's members. The name was created by combining two randomly chosen words from the dictionary; inspired by the name, Wagner drew a picture of an old, fat Elvis. The trio recorded a four-song demo tape, which won them supporting roles at the concerts of artists such as Johnny Thunders and Warren Zevon. Tweedy met Tony Margherita while moonlighting as a record clerk in St. Louis. After attending a pair of the band's concerts, Margherita offered to become its manager. Uncle Tupelo began to play regular shows at Cicero's Basement—a bar close to the campus of Washington University. Bands playing in a similar style, including Brian Henneman's Chicken Truck, often played at the venue, which by late 1988 was considered to have been the origin of a new music scene. The band temporarily expanded to a four-piece with the addition of the guitarist Alex Mutrux, but soon reverted to a trio.
Uncle Tupelo recorded its first tracks in the attic studio of future Chicago punk producer Matt Allison in Champaign, Illinois. The demo Not Forever, Just for Now includes the songs "I Got Drunk" and "Screen Door", as well as early versions of several songs that would appear on their first studio album. The CMJ New Music Report gave the tape a rave review, and called Uncle Tupelo the best unsigned band of the year. The accolade attracted the attention of independent labels, and the band decided to sign with Jay Fialkov and Debbie Southwood-Smith of Giant Records (who offered to book them at CBGB in New York City). Explaining the decision, the band said that "[our] original goals don't get distorted with an independent label."
Recordings on Rockville Records
Shortly after Uncle Tupelo's signing, Giant Records changed its name to Rockville Records. The band's first album for Rockville, No Depression, was recorded over ten days in January 1990, at Fort Apache South recording studio in Boston, Massachusetts. The album's thematic structure revolved around their lives as adolescents in Belleville; examples are songs about wanting to avoid factory work and songs about fearing a potential Persian Gulf War military draft. Impressed by their previous work on Dinosaur Jr.'s Bug, the band wanted Paul Kolderie and Sean Slade to produce the album. Slade let Farrar play on the same 1961 Gibson Les Paul SG Junior that J. Mascis originally played on Bug. The album was released on June 21, 1990, and the band celebrated by playing at Cicero's for two nights.
In between tours, Farrar, Tweedy and Heidorn formed a country cover band named Coffee Creek, along with Brian Henneman (later a member of The Bottle Rockets). Henneman impressed Uncle Tupelo, and he was invited to be a guitar technician and occasional multi-instrumentalist for the band. While Farrar and Heidorn would avoid drinking too much after shows, Tweedy would continue drinking throughout the night. Although Tweedy stopped after he began dating Sue Miller in 1991, a significant communication gap had already been opened between Tweedy and Farrar.
By March 1991, No Depression had sold an estimated 15,000 copies, and was featured in a Rolling Stone article about rising stars. However, Rockville Records refused to pay the band any royalties for the album, a theme that would continue for the remainder of the band's contract. Over seventeen days the band recorded a second album at Long View Farm in rural North Brookfield, Massachusetts. Still Feel Gone, with a more layered sound, was also produced by Kolderie and Slade, with contributions by Slade, Henneman, Rich Gilbert, Chris Bess of Enormous Richard, and Gary Louris of The Jayhawks. The band was disappointed with the production of the album and decided to discontinue working with Kolderie and Slade. Soon afterward, Uncle Tupelo recorded "Shaking Hands (Soldier's Joy)" on Michelle Shocked's album Arkansas Traveler and joined her on the accompanying tour with Taj Mahal and The Band. However, the tour only lasted for a few shows because of managerial problems between Shocked and The Band.
Alternative rock had broken into the mainstream by 1992, and an album released in that style was expected to earn the group a major-label record deal. However, Uncle Tupelo did not want to follow in the footsteps of groups such as Nirvana, and decided to play country and folk songs "as a big 'fuck you' to the rock scene". Peter Buck, guitarist for R.E.M., saw the trio perform at the 40 Watt Club in Athens, Georgia and sought them out after the show. Buck was impressed with a version of "Atomic Power" that the band played, and offered his services for their next album. Over a span of five days, Buck produced the group's next album, March 16–20, 1992. Buck allowed them to stay in his house during the sessions, and charged no money for his services. Henneman's role was increased for this album, and he taught himself how to play mandolin and bouzouki. Despite turning away from the style of popular alternative rock, major labels began to show significant interest in Uncle Tupelo after March 16–20, 1992 was released. The album sold more than their two previous recordings combined, although Rockville was displeased that it did not conform to the style of popular alternative rock.
Major label contract
In 1992, Joe McEwen of Sire Records began to pursue the band. McEwen, who brought notable acts such as Dinosaur Jr. and Shawn Colvin to Sire, had been interested in them since hearing the Not Forever, Just for Now demo tape. At the urging of Gary Louris, McEwen offered Uncle Tupelo a contract. Band manager Tony Margherita invoked the $50,000 escape clause he had put in their Rockville contract, freeing the band to sign a seven-year deal with Sire. The deal required two albums and specified a budget of $150,000 for the first.
Around the time of the recording of March 16–20, 1992, Mike Heidorn had secured a steady job at a Belleville newspaper company and was dating a woman who had two children from a previous marriage. Uncle Tupelo had planned a tour of Europe, but Heidorn wanted to stay in Belleville with his girlfriend, whom he married in August 1992.
The band held auditions prior to the promotional tour for March 16–20, 1992, and two candidates stood out: Bill Belzer and Ken Coomer. Although Farrar and Tweedy agreed that Coomer was the better drummer, they were intimidated by his six-foot-four stature and long dreadlocks. The band instead selected Belzer as Heidorn's replacement, but he only stayed with the band for six months. Tweedy explained Belzer's departure:
I want to believe it was purely musical, and I honestly believe that it wasn't working musically. I also believe that we weren't emotionally mature enough to be close friends with a gay person at that point in our lives ... And Bill was and is a very proud and righteous gay person, very open about his homosexuality.
After touring Europe opening for Sugar, the band replaced Belzer with Coomer. The band also experimented with new members: John Stirratt replaced Brian Henneman (who left to form The Bottle Rockets) while Max Johnston, the brother of Michelle Shocked, joined as a live mandolin and violin performer. Stirratt became the full-time bassist, allowing Tweedy to perform more songs with the guitar.
Now a five-piece, Uncle Tupelo recorded their major label debut at Cedar Creek studio in Austin, Texas in early 1993. Anodyne consisted of live-in-the-studio recordings and included a duet with Farrar and Doug Sahm of the Sir Douglas Quintet. The album sold 150,000 copies, and was their only entry on the Billboard Heatseekers chart. The group toured until the end of the year, finishing with a sold-out concert at Tramps in New York City. Because of their concert draw, major executives at Sire began to see the band as a potential hit.
In 1993, the band contributed a cover of Creedence Clearwater Revival's track "Effigy" to the AIDS-Benefit album No Alternative produced by the Red Hot Organization.
Breakup
With the addition of Stirratt, Coomer, and Johnston just prior to the recording of Anodyne, Farrar and Tweedy's relationship became more tumultuous, leading to verbal altercations after concerts. In one account, Tweedy recalled:
Around this time, I would say something into a microphone onstage, and afterward [Farrar would] pull me aside and say, "Don't you ever fucking talk into that microphone again." He would misconstrue me talking into the microphone as more evidence of my out-of-control, rampant ego, more evidence of me feeling like I didn't have to be so fucking afraid anymore.
Tweedy felt the new members gave him a new opportunity to contribute to the band, but Farrar felt disdain for Tweedy's new carefree attitude. Years later, Farrar would claim that he had been tempted to quit the band after seeing Tweedy stroking the hair of Farrar's girlfriend, an act which he believed to have been a proposition. In January 1994, Farrar called manager Tony Margherita to inform him of his decision to leave the band. Farrar told Margherita that he was no longer having fun, and did not want to work with Tweedy anymore. Soon after the breakup, Farrar explained his departure: "It just seemed like it reached a point where Jeff and I really weren't compatible. It had ceased to be a symbiotic songwriting relationship, probably after the first record."
Tweedy was enraged that he heard the news secondhand from Margherita, rather than directly from Farrar. The following day, the two engaged in a verbal confrontation. As a favor to Margherita, who had spent a substantial amount of money to keep the band running, Farrar agreed to a final tour with Uncle Tupelo in North America. Tweedy and Farrar again engaged in a shouting match two weeks into the tour, due to Farrar's refusal to sing harmony on any of Tweedy's songs. The band made its first appearance on national television during the tour when they were featured on Late Night with Conan O'Brien. Sire had requested that the band perform "The Long Cut" on the show, which further irked Farrar since the song was written and sung by Tweedy.
Uncle Tupelo's last concerts, two shows at The Blue Note in Columbia, Missouri and two shows at Mississippi Nights in St. Louis, took place from April 28 to May 1, 1994. A special "last leg" poster was created for the occasion which facetiously promoted the band as "St. Louis's 4th best country band", based on a readers' poll in the Riverfront Times. On the last night, Tweedy and Farrar each performed nine songs during the concert, and Mike Heidorn performed as drummer during the encore.
Post-breakup
Following Uncle Tupelo's final tour, Tweedy encouraged his bandmates to join him in a new group, while Farrar searched for members for a band of his own. Tweedy was able to retain the rest of the Uncle Tupelo lineup, and created Wilco. They began rehearsing a few days after the final Uncle Tupelo concert, and by August 1994 they were in the recording studio for their first album, A.M.. Farrar asked Jim Boquist to join his new band, Son Volt; Boquist was a multi-instrumentalist who had performed with Joe Henry as the opening act on Uncle Tupelo's last tour. Boquist also recruited his brother Dave, and Farrar convinced Mike Heidorn to leave Belleville to join the group. Farrar's new four-piece began recording their debut album Trace in November 1994.
Wilco signed to Reprise Records while Son Volt signed with Warner Bros. Records. Son Volt had an early college rock hit with "Drown" from the album Trace, but Wilco maintained a more commercially successful career in the years to follow. Regarding the possibility of a reunion, Mike Heidorn reported in a PopMatters interview that "nothing's ever for sure, but I would have to say, 'No such thing'." Farrar said that he does not want the band to get back together, while Tweedy said that he believes that a reunion would not be productive musically.
Farrar and Tweedy sued Rockville Records and Dutch East India Trading CEO Barry Tenenbaum in 2000 over royalties that the label allegedly owed them, winning restitution from Tenenbaum and the joint rights to Uncle Tupelo's first three albums. After securing the rights, the band released a compilation entitled 89/93: An Anthology. In 2003, Uncle Tupelo re-issued their first three albums, which before the lawsuit had cumulatively sold over 200,000 copies.
Influences
As The Primitives, Tweedy and Farrar were highly influenced by punk bands such as The Ramones and The Sex Pistols. However, they began to listen to country music because punk rock was not well received in the Belleville and St. Louis music scenes. While they originally were introduced to country by their parents, it was not until this time that they began to listen to it for leisure. Farrar typically wrote songs about Middle America, while Tweedy wrote about more mainstream topics such as relationships. Farrar took influence from authors such as Kurt Vonnegut and Jack Kerouac, whom he read while working at his mother's bookstore. As a singer, Farrar's lyrics would be front-and-center during performances, but the band's musical style was mostly driven by Tweedy and Heidorn. Jeff Tweedy said in an interview with the St. Louis Post-Dispatch:
We probably have more influences than we know what to do with. We have two main styles that have been influences. For instance, we like Black Flag as much as early Bob Dylan and Dinosaur Jr. as much as Hank Williams... To us, hard-core punk is also folk music. We draw a close parallel between the two. We'll play both in the same set if we get a chance. We don't have any biases as far as music is concerned.
Tweedy in particular was inspired by the Minutemen, and wrote a song about D. Boon following Boon's death in a van accident. The band has released songs originally performed by Creedence Clearwater Revival, The Carter Family, Lead Belly, Gram Parsons, The Soft Boys, The Louvin Brothers, Texas Tornados, and The Stooges. Releasing March 16–20, 1992 when alternative music was breaking through was a move inspired by Neil Young's decision to release the challenging albums On the Beach and Tonight's the Night immediately after the commercially successful Harvest. Critic Michael Corcoran likened the band's musical style to "Bob Mould fronting Soul Asylum on a speeded-up version of a Gram Parsons song."
Legacy
Uncle Tupelo is credited as one of the founders of the alternative country genre, a blend of alternative rock and traditional country music. While the genre eventually became associated with solo artists such as Gram Parsons and Lyle Lovett, Uncle Tupelo is considered the first alternative country band. Some media outlets like the BBC have even suggested that they were the genre's sole creator. However, Tweedy and Heidorn dispute this claim, and Farrar says that there is no difference between alternative country and other genres such as roots rock. Heidorn commented in a Country Standard Time interview:
It's strange to hear Uncle Tupelo mentioned because what we were doing was in such a long line of musical history. People are wrong in starting with us and saying we started anything because we were just picking up the ball, starting with Woody Guthrie and on to the early '60s and the Flying Burrito Brothers that we were influenced by. We didn't start a genre. We contributed to a long line of fairly good music. That's the way we looked at it at the time—doing what was right for the song.
The band's first three albums influenced contemporary roots rock artists such as Richmond Fontaine and Whiskeytown. Uncle Tupelo's usage of distorted guitars to play a style of music that was known for its earnestness became a lasting trend in 1990s modern rock. Jason Ankeny wrote in AllMusic that:
With the release of their 1990 debut LP, No Depression, the Belleville, IL, trio Uncle Tupelo launched more than simply their own career—by fusing the simplicity and honesty of country music with the bracing fury of punk, they kick-started a revolution which reverberated throughout the American underground.
Their 1990 album No Depression lent its name to an influential alternative country periodical. Due to the influence of the album and periodical, the term "No Depression" became a byword for alternative country—particularly for bands with punk rock influence. The alternative country movement played an important role in the success of future traditionalist country acts such as Robbie Fulks and Shelby Lynne.
Members
Jay Farrar – vocals, guitar (1987–1994)
Mike Heidorn – drums (1987–1992)
Jeff Tweedy – vocals, bass, guitar (1987–1994)
Bill Belzer – drums (1992)
Ken Coomer – drums (1992–1994)
Max Johnston – violin, mandolin (1992–1994)
John Stirratt – bass, guitar (1992–1994)
Timeline
Discography
Studio albums
Compilations
Demo tapes
All demo tapes are self-released on cassette.
Singles
Contributions
Uncle Tupelo also recorded a one-hour radio special that was released by Legacy Records in 2003. Legacy only distributed the CD, entitled The Long Cut: A One Hour Radio Special, to non-commercial radio stations as a way to promote the re-issues of the band's studio albums. The special is hosted by Lauren Frey and features interviews by Farrar, Tweedy, and Heidorn.
Notes
References
External links
Factory Belt: The Unofficial Uncle Tupelo Archives
Postcard From Hell Mailing List
American alternative country groups
American country rock groups
Musical groups from St. Louis
Musical groups disestablished in 1994
Musical groups established in 1987
Musical groups from Illinois
Wilco
1987 establishments in Illinois
Sire Records artists
Dutch East India Trading artists
Giant Records (independent) artists
| true |
[
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
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"Uncle Tupelo",
"Post-breakup",
"what took place post break up?",
"Tweedy encouraged his bandmates to join him in a new group, while Farrar searched for members for a band of his own.",
"when did they start recording?",
"by August 1994 they were in the recording studio for their first album,",
"Are there any other interesting aspects about this article?",
"Wilco signed to Reprise Records while Son Volt signed with Warner Bros. Records."
] |
C_eea056c49cca401a93366614591e197d_0
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Did they ever reunite?
| 4 |
Did Uncle Tupelo ever reunite?
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Uncle Tupelo
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Following Uncle Tupelo's final tour, Tweedy encouraged his bandmates to join him in a new group, while Farrar searched for members for a band of his own. Tweedy was able to retain the rest of the Uncle Tupelo lineup, and created Wilco. Wilco began rehearsing a few days after the final Uncle Tupelo concert, and by August 1994 they were in the recording studio for their first album, A.M.. Farrar asked Jim Boquist to join his new band, Son Volt; Boquist was a multi-instrumentalist who had performed with Joe Henry as the opening act on Uncle Tupelo's last tour. Boquist also recruited his brother Dave, and Farrar convinced Mike Heidorn to leave Belleville to join the group. Farrar's new four-piece began recording their debut album Trace in November 1994. Wilco signed to Reprise Records while Son Volt signed with Warner Bros. Records. Son Volt had an early college rock hit with "Drown" from the album Trace, but Wilco maintained a more commercially successful career in the years to follow. Regarding the possibility of a reunion, Mike Heidorn reported in a PopMatters interview that "nothing's ever for sure, but I would have to say, 'No such thing' ". Farrar said that he does not want the band to get back together, while Tweedy said that he believes that a reunion would not be productive musically. Farrar and Tweedy sued Rockville Records and Dutch East India Trading CEO Barry Tenenbaum in 2000 over royalties that the label allegedly owed them, winning reparations from Tenenbaum and the joint rights to Uncle Tupelo's first three albums. After securing the rights, the band released a compilation entitled 89/93: An Anthology. In 2003, Uncle Tupelo re-issued their first three albums, which before the lawsuit had cumulatively sold over 200,000 copies. CANNOTANSWER
|
CANNOTANSWER
|
Uncle Tupelo was an alternative country music group from Belleville, Illinois, active between 1987 and 1994. Jay Farrar, Jeff Tweedy, and Mike Heidorn formed the band after the lead singer of their previous band, The Primitives, left to attend college. The trio recorded three albums for Rockville Records, before signing with Sire Records and expanding to a five-piece. Shortly after the release of the band's major label debut album Anodyne, Farrar announced his decision to leave the band due to a soured relationship with his co-songwriter Tweedy. Uncle Tupelo split on May 1, 1994, after completing a farewell tour. Following the breakup, Farrar formed Son Volt with Heidorn, while the remaining members continued as Wilco.
Although Uncle Tupelo broke up before it achieved commercial success, the band is renowned for its impact on the alternative country music scene. The group's first album, No Depression, became a byword for the genre and was widely influential. Uncle Tupelo's sound was unlike popular country music of the time, drawing inspiration from styles as diverse as the hardcore punk of The Minutemen and the country instrumentation and harmony of the Carter Family and Hank Williams. Farrar and Tweedy's lyrics frequently referred to Middle America and the working class of Belleville.
History
The Plebes and The Primitives
Jay Farrar, along with his brothers Wade and Dade, played in an early 1980s garage band named The Plebes. Hailing from Belleville, Illinois, The Plebes sought to enter a battle-of-the-bands competition but needed another high school student as a member to perform. They invited Jeff Tweedy, a high school friend of Jay Farrar, to join the band and play with them for the show. Despite a lack of skill with his instrument, Tweedy played an important role in the band by booking early gigs. While The Plebes had been playing music in a rockabilly style, Tweedy wanted to play punk rock like the music that he originally heard the group perform. This caused tensions between Tweedy and Dade Farrar, who left the band two months after Tweedy joined.
Before leaving the band in 1984, Dade Farrar introduced its members to Mike Heidorn, the younger brother of his girlfriend; Heidorn then joined the group as their drummer. The Plebes then decided to change its name to The Primitives, a reference to a 1965 song by psychedelic rock group The Groupies. Due to the unpopularity of punk rock in the St. Louis area, The Primitives began to play blues-oriented garage rock at fast tempos. They performed regularly at a wedding hall in Millstadt, Illinois, where Tweedy's mother Jo Ann would collect the cover fee. They also performed regularly at B St Bar in Belleville with bands such as The Newsboys (later Sammy and the Snowmonkeys), Charlie Langrehr, and The Symptoms. Wade Farrar was the lead singer of the band, but his commitment to Southern Illinois University and an attempted enlistment in the United States Army meant he was only able to dedicate a small amount of time to the group. Additionally, Heidorn broke his collarbone during a concert in 1986, which caused the band to go on hiatus. Jay Farrar and Tweedy continued to write songs and perform at Heidorn's house while he recovered, and by 1987 they had restarted the group. The Primitives temporarily added Tony Mayr as a bassist so that Tweedy could play guitar, but a month later the band decided to keep Tweedy on bass and remain a three-piece. To avoid confusion with a successful British band also named The Primitives, they decided to change their name once again, to Uncle Tupelo. Although they performed only 1960s cover songs as The Primitives, the trio decided to take a new approach and write their own music under their new name.
Early career
The Primitives renamed itself Uncle Tupelo after a character in a cartoon drawn by Chuck Wagner, a friend of the band's members. The name was created by combining two randomly chosen words from the dictionary; inspired by the name, Wagner drew a picture of an old, fat Elvis. The trio recorded a four-song demo tape, which won them supporting roles at the concerts of artists such as Johnny Thunders and Warren Zevon. Tweedy met Tony Margherita while moonlighting as a record clerk in St. Louis. After attending a pair of the band's concerts, Margherita offered to become its manager. Uncle Tupelo began to play regular shows at Cicero's Basement—a bar close to the campus of Washington University. Bands playing in a similar style, including Brian Henneman's Chicken Truck, often played at the venue, which by late 1988 was considered to have been the origin of a new music scene. The band temporarily expanded to a four-piece with the addition of the guitarist Alex Mutrux, but soon reverted to a trio.
Uncle Tupelo recorded its first tracks in the attic studio of future Chicago punk producer Matt Allison in Champaign, Illinois. The demo Not Forever, Just for Now includes the songs "I Got Drunk" and "Screen Door", as well as early versions of several songs that would appear on their first studio album. The CMJ New Music Report gave the tape a rave review, and called Uncle Tupelo the best unsigned band of the year. The accolade attracted the attention of independent labels, and the band decided to sign with Jay Fialkov and Debbie Southwood-Smith of Giant Records (who offered to book them at CBGB in New York City). Explaining the decision, the band said that "[our] original goals don't get distorted with an independent label."
Recordings on Rockville Records
Shortly after Uncle Tupelo's signing, Giant Records changed its name to Rockville Records. The band's first album for Rockville, No Depression, was recorded over ten days in January 1990, at Fort Apache South recording studio in Boston, Massachusetts. The album's thematic structure revolved around their lives as adolescents in Belleville; examples are songs about wanting to avoid factory work and songs about fearing a potential Persian Gulf War military draft. Impressed by their previous work on Dinosaur Jr.'s Bug, the band wanted Paul Kolderie and Sean Slade to produce the album. Slade let Farrar play on the same 1961 Gibson Les Paul SG Junior that J. Mascis originally played on Bug. The album was released on June 21, 1990, and the band celebrated by playing at Cicero's for two nights.
In between tours, Farrar, Tweedy and Heidorn formed a country cover band named Coffee Creek, along with Brian Henneman (later a member of The Bottle Rockets). Henneman impressed Uncle Tupelo, and he was invited to be a guitar technician and occasional multi-instrumentalist for the band. While Farrar and Heidorn would avoid drinking too much after shows, Tweedy would continue drinking throughout the night. Although Tweedy stopped after he began dating Sue Miller in 1991, a significant communication gap had already been opened between Tweedy and Farrar.
By March 1991, No Depression had sold an estimated 15,000 copies, and was featured in a Rolling Stone article about rising stars. However, Rockville Records refused to pay the band any royalties for the album, a theme that would continue for the remainder of the band's contract. Over seventeen days the band recorded a second album at Long View Farm in rural North Brookfield, Massachusetts. Still Feel Gone, with a more layered sound, was also produced by Kolderie and Slade, with contributions by Slade, Henneman, Rich Gilbert, Chris Bess of Enormous Richard, and Gary Louris of The Jayhawks. The band was disappointed with the production of the album and decided to discontinue working with Kolderie and Slade. Soon afterward, Uncle Tupelo recorded "Shaking Hands (Soldier's Joy)" on Michelle Shocked's album Arkansas Traveler and joined her on the accompanying tour with Taj Mahal and The Band. However, the tour only lasted for a few shows because of managerial problems between Shocked and The Band.
Alternative rock had broken into the mainstream by 1992, and an album released in that style was expected to earn the group a major-label record deal. However, Uncle Tupelo did not want to follow in the footsteps of groups such as Nirvana, and decided to play country and folk songs "as a big 'fuck you' to the rock scene". Peter Buck, guitarist for R.E.M., saw the trio perform at the 40 Watt Club in Athens, Georgia and sought them out after the show. Buck was impressed with a version of "Atomic Power" that the band played, and offered his services for their next album. Over a span of five days, Buck produced the group's next album, March 16–20, 1992. Buck allowed them to stay in his house during the sessions, and charged no money for his services. Henneman's role was increased for this album, and he taught himself how to play mandolin and bouzouki. Despite turning away from the style of popular alternative rock, major labels began to show significant interest in Uncle Tupelo after March 16–20, 1992 was released. The album sold more than their two previous recordings combined, although Rockville was displeased that it did not conform to the style of popular alternative rock.
Major label contract
In 1992, Joe McEwen of Sire Records began to pursue the band. McEwen, who brought notable acts such as Dinosaur Jr. and Shawn Colvin to Sire, had been interested in them since hearing the Not Forever, Just for Now demo tape. At the urging of Gary Louris, McEwen offered Uncle Tupelo a contract. Band manager Tony Margherita invoked the $50,000 escape clause he had put in their Rockville contract, freeing the band to sign a seven-year deal with Sire. The deal required two albums and specified a budget of $150,000 for the first.
Around the time of the recording of March 16–20, 1992, Mike Heidorn had secured a steady job at a Belleville newspaper company and was dating a woman who had two children from a previous marriage. Uncle Tupelo had planned a tour of Europe, but Heidorn wanted to stay in Belleville with his girlfriend, whom he married in August 1992.
The band held auditions prior to the promotional tour for March 16–20, 1992, and two candidates stood out: Bill Belzer and Ken Coomer. Although Farrar and Tweedy agreed that Coomer was the better drummer, they were intimidated by his six-foot-four stature and long dreadlocks. The band instead selected Belzer as Heidorn's replacement, but he only stayed with the band for six months. Tweedy explained Belzer's departure:
I want to believe it was purely musical, and I honestly believe that it wasn't working musically. I also believe that we weren't emotionally mature enough to be close friends with a gay person at that point in our lives ... And Bill was and is a very proud and righteous gay person, very open about his homosexuality.
After touring Europe opening for Sugar, the band replaced Belzer with Coomer. The band also experimented with new members: John Stirratt replaced Brian Henneman (who left to form The Bottle Rockets) while Max Johnston, the brother of Michelle Shocked, joined as a live mandolin and violin performer. Stirratt became the full-time bassist, allowing Tweedy to perform more songs with the guitar.
Now a five-piece, Uncle Tupelo recorded their major label debut at Cedar Creek studio in Austin, Texas in early 1993. Anodyne consisted of live-in-the-studio recordings and included a duet with Farrar and Doug Sahm of the Sir Douglas Quintet. The album sold 150,000 copies, and was their only entry on the Billboard Heatseekers chart. The group toured until the end of the year, finishing with a sold-out concert at Tramps in New York City. Because of their concert draw, major executives at Sire began to see the band as a potential hit.
In 1993, the band contributed a cover of Creedence Clearwater Revival's track "Effigy" to the AIDS-Benefit album No Alternative produced by the Red Hot Organization.
Breakup
With the addition of Stirratt, Coomer, and Johnston just prior to the recording of Anodyne, Farrar and Tweedy's relationship became more tumultuous, leading to verbal altercations after concerts. In one account, Tweedy recalled:
Around this time, I would say something into a microphone onstage, and afterward [Farrar would] pull me aside and say, "Don't you ever fucking talk into that microphone again." He would misconstrue me talking into the microphone as more evidence of my out-of-control, rampant ego, more evidence of me feeling like I didn't have to be so fucking afraid anymore.
Tweedy felt the new members gave him a new opportunity to contribute to the band, but Farrar felt disdain for Tweedy's new carefree attitude. Years later, Farrar would claim that he had been tempted to quit the band after seeing Tweedy stroking the hair of Farrar's girlfriend, an act which he believed to have been a proposition. In January 1994, Farrar called manager Tony Margherita to inform him of his decision to leave the band. Farrar told Margherita that he was no longer having fun, and did not want to work with Tweedy anymore. Soon after the breakup, Farrar explained his departure: "It just seemed like it reached a point where Jeff and I really weren't compatible. It had ceased to be a symbiotic songwriting relationship, probably after the first record."
Tweedy was enraged that he heard the news secondhand from Margherita, rather than directly from Farrar. The following day, the two engaged in a verbal confrontation. As a favor to Margherita, who had spent a substantial amount of money to keep the band running, Farrar agreed to a final tour with Uncle Tupelo in North America. Tweedy and Farrar again engaged in a shouting match two weeks into the tour, due to Farrar's refusal to sing harmony on any of Tweedy's songs. The band made its first appearance on national television during the tour when they were featured on Late Night with Conan O'Brien. Sire had requested that the band perform "The Long Cut" on the show, which further irked Farrar since the song was written and sung by Tweedy.
Uncle Tupelo's last concerts, two shows at The Blue Note in Columbia, Missouri and two shows at Mississippi Nights in St. Louis, took place from April 28 to May 1, 1994. A special "last leg" poster was created for the occasion which facetiously promoted the band as "St. Louis's 4th best country band", based on a readers' poll in the Riverfront Times. On the last night, Tweedy and Farrar each performed nine songs during the concert, and Mike Heidorn performed as drummer during the encore.
Post-breakup
Following Uncle Tupelo's final tour, Tweedy encouraged his bandmates to join him in a new group, while Farrar searched for members for a band of his own. Tweedy was able to retain the rest of the Uncle Tupelo lineup, and created Wilco. They began rehearsing a few days after the final Uncle Tupelo concert, and by August 1994 they were in the recording studio for their first album, A.M.. Farrar asked Jim Boquist to join his new band, Son Volt; Boquist was a multi-instrumentalist who had performed with Joe Henry as the opening act on Uncle Tupelo's last tour. Boquist also recruited his brother Dave, and Farrar convinced Mike Heidorn to leave Belleville to join the group. Farrar's new four-piece began recording their debut album Trace in November 1994.
Wilco signed to Reprise Records while Son Volt signed with Warner Bros. Records. Son Volt had an early college rock hit with "Drown" from the album Trace, but Wilco maintained a more commercially successful career in the years to follow. Regarding the possibility of a reunion, Mike Heidorn reported in a PopMatters interview that "nothing's ever for sure, but I would have to say, 'No such thing'." Farrar said that he does not want the band to get back together, while Tweedy said that he believes that a reunion would not be productive musically.
Farrar and Tweedy sued Rockville Records and Dutch East India Trading CEO Barry Tenenbaum in 2000 over royalties that the label allegedly owed them, winning restitution from Tenenbaum and the joint rights to Uncle Tupelo's first three albums. After securing the rights, the band released a compilation entitled 89/93: An Anthology. In 2003, Uncle Tupelo re-issued their first three albums, which before the lawsuit had cumulatively sold over 200,000 copies.
Influences
As The Primitives, Tweedy and Farrar were highly influenced by punk bands such as The Ramones and The Sex Pistols. However, they began to listen to country music because punk rock was not well received in the Belleville and St. Louis music scenes. While they originally were introduced to country by their parents, it was not until this time that they began to listen to it for leisure. Farrar typically wrote songs about Middle America, while Tweedy wrote about more mainstream topics such as relationships. Farrar took influence from authors such as Kurt Vonnegut and Jack Kerouac, whom he read while working at his mother's bookstore. As a singer, Farrar's lyrics would be front-and-center during performances, but the band's musical style was mostly driven by Tweedy and Heidorn. Jeff Tweedy said in an interview with the St. Louis Post-Dispatch:
We probably have more influences than we know what to do with. We have two main styles that have been influences. For instance, we like Black Flag as much as early Bob Dylan and Dinosaur Jr. as much as Hank Williams... To us, hard-core punk is also folk music. We draw a close parallel between the two. We'll play both in the same set if we get a chance. We don't have any biases as far as music is concerned.
Tweedy in particular was inspired by the Minutemen, and wrote a song about D. Boon following Boon's death in a van accident. The band has released songs originally performed by Creedence Clearwater Revival, The Carter Family, Lead Belly, Gram Parsons, The Soft Boys, The Louvin Brothers, Texas Tornados, and The Stooges. Releasing March 16–20, 1992 when alternative music was breaking through was a move inspired by Neil Young's decision to release the challenging albums On the Beach and Tonight's the Night immediately after the commercially successful Harvest. Critic Michael Corcoran likened the band's musical style to "Bob Mould fronting Soul Asylum on a speeded-up version of a Gram Parsons song."
Legacy
Uncle Tupelo is credited as one of the founders of the alternative country genre, a blend of alternative rock and traditional country music. While the genre eventually became associated with solo artists such as Gram Parsons and Lyle Lovett, Uncle Tupelo is considered the first alternative country band. Some media outlets like the BBC have even suggested that they were the genre's sole creator. However, Tweedy and Heidorn dispute this claim, and Farrar says that there is no difference between alternative country and other genres such as roots rock. Heidorn commented in a Country Standard Time interview:
It's strange to hear Uncle Tupelo mentioned because what we were doing was in such a long line of musical history. People are wrong in starting with us and saying we started anything because we were just picking up the ball, starting with Woody Guthrie and on to the early '60s and the Flying Burrito Brothers that we were influenced by. We didn't start a genre. We contributed to a long line of fairly good music. That's the way we looked at it at the time—doing what was right for the song.
The band's first three albums influenced contemporary roots rock artists such as Richmond Fontaine and Whiskeytown. Uncle Tupelo's usage of distorted guitars to play a style of music that was known for its earnestness became a lasting trend in 1990s modern rock. Jason Ankeny wrote in AllMusic that:
With the release of their 1990 debut LP, No Depression, the Belleville, IL, trio Uncle Tupelo launched more than simply their own career—by fusing the simplicity and honesty of country music with the bracing fury of punk, they kick-started a revolution which reverberated throughout the American underground.
Their 1990 album No Depression lent its name to an influential alternative country periodical. Due to the influence of the album and periodical, the term "No Depression" became a byword for alternative country—particularly for bands with punk rock influence. The alternative country movement played an important role in the success of future traditionalist country acts such as Robbie Fulks and Shelby Lynne.
Members
Jay Farrar – vocals, guitar (1987–1994)
Mike Heidorn – drums (1987–1992)
Jeff Tweedy – vocals, bass, guitar (1987–1994)
Bill Belzer – drums (1992)
Ken Coomer – drums (1992–1994)
Max Johnston – violin, mandolin (1992–1994)
John Stirratt – bass, guitar (1992–1994)
Timeline
Discography
Studio albums
Compilations
Demo tapes
All demo tapes are self-released on cassette.
Singles
Contributions
Uncle Tupelo also recorded a one-hour radio special that was released by Legacy Records in 2003. Legacy only distributed the CD, entitled The Long Cut: A One Hour Radio Special, to non-commercial radio stations as a way to promote the re-issues of the band's studio albums. The special is hosted by Lauren Frey and features interviews by Farrar, Tweedy, and Heidorn.
Notes
References
External links
Factory Belt: The Unofficial Uncle Tupelo Archives
Postcard From Hell Mailing List
American alternative country groups
American country rock groups
Musical groups from St. Louis
Musical groups disestablished in 1994
Musical groups established in 1987
Musical groups from Illinois
Wilco
1987 establishments in Illinois
Sire Records artists
Dutch East India Trading artists
Giant Records (independent) artists
| false |
[
"Reunite may refer to:\n\n Reunite International Child Abduction Centre, a UK charity focusing on international child abduction\n Reunite (album), a 2010 album by The O.C. Supertones",
"Reunite International Child Abduction Centre is recognized as the leading UK charity focusing on international child abduction.\n\nHistory\n\nReunite began in 1986 as reunite National Council for Abducted Children, a parent support network formed by parents trying to navigate their way through the legal issues surrounding international parental child abduction. It was registered as a charity in 1990 and over the years evolved and developed into an information and resource centre. It was in 1999 that it changed its name to reunite International Child Abduction Centre\n\nReferences\n\nExternal links\nreunite's website\n\nNon-profit organisations based in the United Kingdom\nInternational child abduction\nChild safety\nLaw enforcement in the United Kingdom"
] |
[
"Fugazi",
"In On the Kill Taker and Red Medicine (1993-1996)"
] |
C_fcf066dfe02d42c19a7cebde5389bf6f_1
|
What is the Kill Taker?
| 1 |
What is In On the Kill Taker by Fugazi?
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Fugazi
|
After the hardcore punk group Minor Threat dissolved, Ian MacKaye (vocals and guitar) was active with a few short-lived groups, most notably Embrace. MacKaye decided he wanted a project that was "like The Stooges with reggae", but was wary about forming another band after Embrace's break up. MacKaye recalled, "My interests were not necessarily to be in a band, but to be with people who wanted to play music with me." MacKaye recruited ex-Dag Nasty drummer Colin Sears and bass guitarist Joe Lally, and the trio began practicing together in September 1986. After a few months of rehearsals, Sears returned to Dag Nasty and was replaced by Brendan Canty (earlier of Rites of Spring). One day Canty's Rites of Spring bandmate Guy Picciotto dropped by during a practice session to see how his friend was getting along; he later admitted he secretly harbored the idea of joining the group. But Picciotto was disappointed that there seemed to be no place for him. After some uncertainty from Canty about what he wanted to do with his future, the trio regrouped and booked their first show at the Wilson Center in early September 1987. The group still needed a name, so MacKaye chose the word "fugazi" from Mark Baker's Nam, a compilation of stories of Vietnam War veterans, it there being a slang acronym for "Fucked Up, Got Ambushed, Zipped In [into a body bag]". The band began inviting Picciotto to practices. Inspired by use of a foil in hip hop, Picciotto sang backup vocals. After his band Happy Go Licky broke up, he became more involved with Fugazi. MacKaye eventually asked Picciotto to become a full member, which he accepted. With Picciotto playing guitar full-time, Fugazi made the transition into jamming and writing new material as a band as opposed to performing songs composed solely by MacKaye. In addition to working on new material, songs they had been performing live were refined, such as "Merchandise" and "Turnover", for inclusion on their first official full-length studio album. Released on April 19, 1990, through Dischord Records, Repeater did not initially reach the Billboard 200 charts or become a commercial success. However, the band spent most of 1990 and 1991 touring heavily behind Repeater, performing a total of 250 concerts between March 1990 and June 1991, routinely selling out 1,000-plus capacity venues throughout the world. By summer 1991, the album sold more than 300,000 copies, a large number for a label that relied on minimal promotion. While major labels began to court Fugazi, the band decided to stay with Dischord and refused the offers of those labels. Repeater ultimately went on to sell more than 1 million copies in the U.S. alone, and more than 2 million worldwide. The album was critically well received and featured an alternative rock sound that pre-dated significant releases such as Nirvana's Nevermind and Pearl Jam's Ten, which would unexpectedly go on to break the genre into the mainstream. For Fugazi's second studio-album Steady Diet of Nothing, released in July 1991, the band once again asked Ted Niceley to produce. Niceley had become a chef and had to reluctantly turn down the job, so the band members decided to produce the record themselves. After the success of Repeater and its subsequent world tour, Steady Diet was highly anticipated, six months prior to its release Dischord had pre-orders in excess of 160,000 for the album. Fugazi recorded its third album In on the Kill Taker in the fall of 1992 with Steve Albini in Chicago; however, the results were deemed unsatisfactory and the band re-recorded the album with Ted Niceley & Don Zientara. With the breakthrough of alternative rock in the early 1990s, In on the Kill Taker; released on June 30, 1993, became the group's first record to enter the Billboard album charts, received critical praise from Spin, TIME magazine and Rolling Stone, sold 180,000 copies in its first week of release and subsequently became the band's breakthrough album. By the In on the Kill Taker tour, the group began to sell-out large auditoriums and arenas, as well as receive more lucrative major label offers. During the band's sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet Ertegun met with the band backstage in an attempt to sign them. Ertegun offered the band "anything you want", their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined the offer. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down. Fugazi began writing the material for Red Medicine in late 1994, after touring in support of In on the Kill Taker. The band worked with engineer Don Zientara, but did not choose to work with producer Ted Niceley again. Fugazi opted to retreat from the in-your-face production values of In on the Kill Taker and instead worked to create an ambient sound which would display greater range and depth. To achieve this, the band handled production duties themselves, and in doing so, became more confident with in-studio experimentation. Red Medicine would take Fugazi a step further toward art rock. The band began an extensive worldwide tour in support of the album, playing a total of 172 shows between March 1995 and November 1996. CANNOTANSWER
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Fugazi recorded its third album In on the Kill Taker
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Fugazi (; ) is an American post-hardcore band that formed in Washington, D.C. in 1986. The band consists of guitarists and vocalists Ian MacKaye and Guy Picciotto, bassist Joe Lally, and drummer Brendan Canty. They are noted for their style-transcending music, DIY ethical stance, manner of business practice, and contempt for the music industry.
Fugazi has performed numerous worldwide tours and produced six studio albums, a film and a comprehensive live series, gaining the band critical acclaim and success around the world. Highly influential on punk and alternative music, the band has been on an indefinite hiatus since 2003.
History
Formation and early years (1986–1989)
After the hardcore punk group Minor Threat dissolved, MacKaye (vocals and guitar) was active with a few short-lived groups, most notably Embrace. He decided he wanted a project that was "like The Stooges with reggae", but was wary about forming another band after Embrace's breakup. MacKaye recalled, "My interests were not necessarily to be in a band, but to be with people who wanted to play music with me."
MacKaye recruited ex-Dag Nasty drummer Colin Sears and bass guitarist Lally, and the trio began practicing together in September 1986. After a few months of rehearsals, Sears returned to Dag Nasty and was replaced by Canty (earlier of Rites of Spring). One day, Picciotto, Canty's Rites of Spring bandmate, dropped by during a practice session to see how his friend was getting along; he later admitted he secretly harbored the idea of joining the group. But Picciotto was disappointed that there seemed to be no place for him.
After some uncertainty from Canty about what he wanted to do with his future, the trio regrouped and booked their first show at the Wilson Center in early September 1987. The group still needed a name, so MacKaye chose the word "fugazi" from Mark Baker's Nam, a compilation of stories of Vietnam War veterans, it there being a slang acronym for "Fucked Up, Got Ambushed, Zipped In [into a body bag]".
The band began inviting Picciotto to practices. Inspired by use of a foil in hip hop, Picciotto sang backup vocals. After his band Happy Go Licky broke up, he became more involved with Fugazi. MacKaye eventually asked Picciotto to become a full member, and he accepted.
Fugazi EP & Margin Walker – 13 Songs (1988–1989)
Fugazi embarked on its first tour in January 1988. In June 1988 the band recorded its debut EP Fugazi with producer Ted Niceley and producer/engineer Don Zientara (who became a longtime collaborator), and shortly afterward embarked on an arduous tour of Europe.
At the tour's conclusion in December, the band recorded songs for its intended debut album. But the band was spent from touring and found the resulting sessions were unsatisfactory. The track list was cut down to an EP and released as Margin Walker the next year. Both EPs were eventually combined into the 13 Songs release in late 1989. Upon the band's return from Europe, Picciotto, unsatisfied with singing, began playing guitar too.
Repeater and Steady Diet of Nothing (1990–1992)
With Picciotto playing guitar full-time, Fugazi made the transition into jamming and writing new material as a band as opposed to performing songs composed solely by MacKaye. In addition to working on new material, songs they had been performing live were refined, such as "Merchandise" and "Turnover", for inclusion on their first official full-length studio album.
Released on April 19, 1990, through Dischord Records, Repeater did not initially reach the Billboard 200 charts or become a commercial success. But the band spent most of 1990 and 1991 touring heavily behind Repeater, performing 250 concerts between March 1990 and June 1991, routinely selling out 1,000-plus capacity venues throughout the world. By summer 1991, the album sold more than 300,000 copies, a large number for a label that relied on minimal promotion. Major labels began to court Fugazi, but the band stayed with Dischord. It was critically well received and featured an alternative rock sound that predated significant releases such as Nirvana's Nevermind and Pearl Jam's Ten, which unexpectedly broke the genre into the mainstream.
For Fugazi's second studio album, Steady Diet of Nothing, released in July 1991, the band again asked Ted Niceley to produce. Niceley had become a chef and had to reluctantly turn down the job, so the band decided to produce the record itself. After the success of Repeater and its subsequent world tour, Steady Diet was highly anticipated. Six months before its release Dischord had more than 160,000 pre-orders for the album.
In on the Kill Taker and Red Medicine (1993–1996)
Fugazi recorded its third album, In on the Kill Taker, in the fall of 1992 with Steve Albini in Chicago, but the results were deemed unsatisfactory and the band rerecorded the album with Niceley and Don Zientara. With the breakthrough of alternative rock in the early 1990s, In on the Kill Taker; released on June 30, 1993, became the group's first record to enter the Billboard album charts, receiving critical praise from Spin, Time and Rolling Stone, and becoming the band's breakthrough album.
By the In on the Kill Taker tour, the group began to sell out large auditoriums and arenas and receive more lucrative major label offers. During its sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet Ertegun met with the band backstage in an attempt to sign them. Ertegun offered the band "anything you want", their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down.
Fugazi began writing the material for Red Medicine in late 1994, after touring in support of In on the Kill Taker. The band worked with Zientara but chose not to work with Niceley again. Fugazi opted to retreat from the in-your-face production values of In on the Kill Taker and instead worked to create an ambient sound that displayed greater range and depth. To achieve this, the band handled production duties itself, and in doing so, became more confident with in-studio experimentation. Red Medicine took Fugazi a step further toward art rock. The band began an extensive worldwide tour in support of the album, playing 172 shows between March 1995 and November 1996.
End Hits and The Argument (1997–2002)
After the grueling worldwide tour the band completed in support of Red Medicine, Fugazi took an extended break and also began writing material for a follow-up release. By March 1997 Fugazi had once again returned to Inner Ear Studios with Zientara to begin recording what became End Hits, with the intention of taking a more relaxed approach to recording and a longer amount of time to experiment with different songs and techniques in the studio. The group ultimately spent 7 months recording the album. Due to the title, rumors began circulating at the time that it was to be their last release. Released on April 28, 1998, the album was commercially successful and marked one of the band's highest debuts yet on the Billboard charts. Critical reaction to End Hits was mixed. Many critics praised its heavier tracks, while others questioned the inclusion of the group's longer, more experimental songs.
Fugazi began work on The Argument in 1999. This process saw the group taking more time than usual to write and demo material. Each member brought his own riffs and ideas to the band, jammed on them, and then began piecing the songs together into various configurations before deciding on the final versions. The album's recording sessions took place between January and April 2001 at Inner Ear Studios and Dischord House in Arlington, Virginia. The band once again worked with Zientara. During the recording process a considerable amount of time was spent finalizing each song's production, in particular the album's drum tracks, in an effort to give it a unique feel. Canty told Modern Drummer, "We recorded them all very differently in terms of the drum sounds. We used a lot of different cymbals, snares, and ways of miking."
The Argument was released by Dischord Records on October 16, 2001, along with the EP Furniture + 2. Arion Berger of Rolling Stone called the album "bracing" and "intellectual" and Chris True of AllMusic "spine-tingling and ear-shattering all at once", writing, "the band has raised the bar for themselves and others once again." He also wrote that the album had "touched on strange new territory". By this point Fugazi was on tour less, due in large part to other professional and personal commitments. It performed only 32 shows in 2001 and 2002.
Indefinite hiatus and reunion rumours (2003–present)
Fugazi went on what it has called an "indefinite hiatus" after the conclusion of its 2002 UK tour following three sold-out nights at the London Forum on November 2–4, 2002. The hiatus was brought on by the band members' insistence on spending more time with their families and pursuing other professional projects.
Since Fugazi went on hiatus in 2003, rumors began circulating about a reunion, with some insinuating that the band may get back together to headline the Coachella Festival. While the band has confirmed that it has been offered large sums of money to reunite and headline festivals, such as Coachella, it has so far declined the offers.
In March 2011, MacKaye reiterated that Fugazi has "been offered insane amounts of money to play reunions, but it's not going to be money that brings us back together, we would only play music together if we wanted to play music together and time allowed it".
In November 2011, when asked by The A.V. Club about the possibility of a reunion and a follow up to 2001's The Argument, Lally said, "The Argument was a great record that we should try and top. It'll take some time to come together and everything. To do that, we'd have to, the way the four of us are, we would take quite some time, I think, reassociating ourselves musically, and then just letting it come about naturally, because it would have to be a natural thing. So we'll just see."
In August 2014, Dischord announced an official release for First Demo, an album featuring 11 demo songs recorded in January 1988. The announcement included a preview of the demo for the Fugazi track "Merchandise". The album was released on November 18, 2014.
MacKaye insisted in a 2017 interview that Fugazi is not, in fact, broken up. While he admits any future public performance will have to contend with various confounding factors, the members have occasionally played music together, privately, since their 2003 hiatus. On March 21, 2018, in an interview on Vish Khanna's Kreative Kontrol podcast, Lally confirmed the band's irregular practice of casual get-togethers. He stated: "Yeah, when we're all in D.C., we totally hang out together and talk and spend a lot of time laughing. We have a great time together, go out to dinner, and we'll play some music together." Lally also stated that additional public performances or tours were unlikely: "There's so much to try to look after to allow Fugazi to do anything, that we do not have the time to give it the respect that it deserves. So unfortunately, it is where it is."
On February 13, 2019, Louder Sound asked Lally and Canty about the possibility of Fugazi returning, Lally responded "You never want to say never about anything, because how can you say that about the future? But there does seem to be a lack of time to allow it to happen, because the four of us would have to spend a lot of time together to figure out, 'Should we play old songs?' 'Who are we now?' 'What is it now?' We are not the kind of band to get together and just rehearse two hours of old songs to go out and play it, rake in the dough and come home." Canty added, "If we got back together it would have to be from the spirit of creativity. It would be different if we got back together."
Side projects and related work
In the hiatus, the members undertook side projects, with MacKaye forming the duo The Evens with drummer and singer Amy Farina (formerly of the Warmers).
In 2004, MacKaye produced the DC EP for Red Hot Chili Peppers guitarist John Frusciante, which also featured Jerry Busher.
Canty has been doing a variety of soundtrack scores and playing bass in the trio Garland Of Hours alongside frequent Fugazi guest contributors Jerry Busher and Amy Domingues, and has played bass live with Mary Timony. Canty also appears on Bob Mould's 2005 album Body of Song and on Mould's 2008 album District Line, and has toured with Mould, appearing in the live DVD Circle of Friends. He is currently working in the Burn to Shine DVD series which is being released by Trixie DVD. Now, he is playing in Deathfix alongside Devin Ocampo (Medications, Faraquet, Smart Went Crazy, Beauty Pill), Rich Morel (Bob Mould, Blow Off) and Mark Cisneros (Medications, The Make-Up). They will release their album in February 2013 on Dischord Records.
Lally has released three solo albums, There to Here (2006), Nothing Is Underrated (2007), and Why Should I Get Used To It (2011). He has also appeared on fellow DC post-punkers Decahedron's debut album Disconnection_Imminent, as well as on a project with Red Hot Chili Peppers guitarists John Frusciante and Josh Klinghoffer, known as Ataxia. The group has recorded two albums, Automatic Writing (2004) and AW II (2007).
Picciotto currently works as a record producer most notably with Blonde Redhead and The Blood Brothers, and he has performed alongside members of The Ex at the Jazz festival in Wels, Austria. Picciotto also contributed guitar on two Vic Chesnutt albums, 2007's "North Star Deserter and 2009's At the Cut (co-producing the latter), for Constellation Records and performed live with Chesnutt and members of Thee Silver Mount Zion Memorial Orchestra and The Quavers in Jem Cohen's program entitled, "Evening's Civil Twilight in Empires of Tin at the Vienna International Film Festival (Viennale) in 2007 (a DVD of the program was released in 2009). Picciotto played guitar on Chesnutt's Fall/Winter 2009 North American Tour. He has a daughter with musician Kathi Wilcox from the band Bikini Kill and The Frumpies.
In July 2011, Minneapolis based record label Doomtree released an album of mash-ups between Fugazi and east coast veteran rap crew the Wu-Tang Clan. The album is titled 13 Chambers, group name Wugazi. However, Fugazi itself did not have any involvement with the release. Bassist Joe Lally was asked about his thoughts on the Wugazi release, and stated "I think they could've found better Fugazi pieces to sample with Wu-Tang guys rapping on it. I mean, it's enjoyable, and I do appreciate it for the fact that somebody enjoys our music enough to bring it into that. But, you know, I don't know. I guess I should shut up, because I suppose I'm about to run into these people at the Fun Fun Fun Fest festival and talk to them. But I'm afraid that is my opinion on it. It's like, get better samples of our stuff, do better work."
In October 2012, Chris Lawhorn released Fugazi Edits. The album includes 22 instrumental tracks, which sample 100 songs from Fugazi's discography. As in other cases, the band had no involvement in the production. But, the album was authorized for release by MacKaye, with the proceeds going to charity.
In 2016, Canty and Lally joined with guitarist Anthony Pirog to form the Messthetics, Canty and Lally's first project together since Fugazi's hiatus.
In March 2018, the Messthetics released their self-titled debut album and embarked upon a tour of the US and Japan. The band toured further and released a second album entitled Anthropocosmic Nest in 2019.
In 2018, Ian MacKaye, Amy Farina and Joe Lally debuted a new band. In February 2020, it was announced that the band, now called Coriky, would release their first album on March 27, 2020. The debut single, "Clean Kill", was released on February 11, 2020. The band previewed their album at a free show in D.C.'s St. Stephen and the Incarnation Episcopal Church on February 22, 2020. Due to the COVID-19 pandemic, the release of Coriky was delayed to June 12, 2020, in part to accommodate independent record stores closed due to the pandemic. Upon release the record was favorable reviewed in a few publications; often drawing comparisons and contrasts with MacKaye and Farina's other band The Evens, as well as Fugazi.
Live performances
Between 1987 and 2003, Fugazi played over 1000 concerts in all 50 US states and all over the world. Over 800 of these shows were recorded by the band's sound engineers. Beginning in 2004 and continuing into 2005, Fugazi launched a 30 CD Live Series that featured concerts from various points in their career, which were made available for sale via Dischord Records. Continuing with the live series concept and after several years of development on December 1, 2011, Fugazi launched a comprehensive Live Series website through Dischord Records that features 750 recordings available for download at the suggested price of $5 each or a "pay what you want" sliding scale option for each download between $1–100 with the goal of eventually making all 800 of the shows that have been recorded available for purchase. For $500 fans can also purchase an "All Access" privilege which will include access to any future concerts and downloads added to the site.
While each concert was professionally mastered, the recordings capture everything that happened onstage and for preservation's sake the band chose not to edit anything out, singer/guitarist Guy Picciotto explained to the New York Times, "We liked this idea of, 'Let's just let it be everything,' ... There doesn't have to be the idea that this is the great, golden document. It's all there, and it's not cleaned up. You get what you get." The sound quality also varies as the earliest recordings were made to cassettes, then eventually digital formats such as DAT, CD-R and ultimately hard-drives were used. Each concert page also includes flyers, photographs and ticket stubs. As a career-spanning archival project, the Fugazi Live Series has few equals, putting the band in the company of acts like the Grateful Dead, Phish and Pearl Jam, three notable examples of other artists with such a large volume of concerts available for purchase.
Musical style
Fugazi's style has been described as post-hardcore, art punk, alternative rock, and experimental rock. Fugazi's music was an intentional departure from that of the hardcore punk bands the members had played in previously. Fugazi combined punk with funk and reggae beats, irregular stop-start song structures, and heavy riffs inspired by popular rock bands such as Led Zeppelin and Queen, bands that the punk community of the time largely disdained.
Picciotto became the group's second guitarist when he realized MacKaye's typically chunky, low-end riffs and Lally's dub-influenced basslines allowed him to focus on high-pitched parts. In both vocal and guitar roles, Picciotto assumed the role of a foil to MacKaye; employing a Rickenbacker guitar for its scratchy single-coil sound in order to "cut through MacKaye's chunky chording like a laser beam." Picciotto's assumption of guitar duties allowed all four members of the band to jam together and write songs that way, where previously they had played songs largely as MacKaye had arranged them. When writing songs, the band often rearranges them with different structures and different singers. Spin has listed MacKaye and Picciotto together at No. 86 on their list of the 100 Greatest Guitarists of All Time for their unique and interlocking guitar style in Fugazi.
Generally, MacKaye's lyrics and singing are more direct and anthemic (MacKaye admits that he loves audience sing-alongs and writes songs with shout-able slogans), while Picciotto usually favors a more abstract, oblique approach. Lally has contributed vocals to a few songs as well, in which he sings in a more relaxed, quiet style as opposed to MacKaye and Picciotto, whose lyrics and vocals often feature strong emotional intensity. Later, Fugazi more fully integrated elements of punk rock, hardcore, soul and noise with an inventively syncopated rhythm section. Notable is MacKaye and Picciotto's inventive, interlocking guitar playing, which often defies the traditional notion of "lead" and "rhythm" guitars. They often feature unusual and dissonant chords and progressions filtered through a hardcore punk lens.
Each of Fugazi's albums since Repeater have featured an instrumental. By the time of 1995's Red Medicine bassist Joe Lally also began contributing vocals to the band and the group was implementing many of their broader influences into the overall sound. Critics Ian McCaleb and Ira Robbins declared that Fugazi's music combined an "unprecedented dynamic range ... and previously unimagined elements" such as "clattering musique concrète ... piano and sound effects ... murky dub and lancing clarinet" and "loose-limbed jammy funk ... into an ambitious, experimental format that raises more stylistic questions than it answers."
Influences
When questioned by Guitar World in 2002 about the band's influences, singer/guitarist Ian MacKaye responded, "Too many to mention. And not just from the last few years. Some of them predate us by decades, and most of them wouldn't be punk. I would hope any musician would be inspired by a lot of different kinds of music." In a 2004 interview with Indonesian magazine Deathrockstar, Picciotto named "D.C. groups" such as Bad Brains ("who inspired all of us so much at the beginning"), the Faith and Void as influences, in addition to Minutemen, Black Flag, Sonic Youth, the Ex and the Beatles, the latter of which all the members "share[d] a major love for". Despite this, he similarly conceded that "[i]ts [sic] impossible to narrow it down to one band or record because we didn't just crib from one blueprint, we were grabbing ideas from all over the place and then filtering them through our own limited and personally shaped skills."
Business practices
On their first tours, Fugazi worked out its DIY ethic by trial and error. Their decisions were partly motivated by pragmatic considerations that were essentially a punk rock version of simple living: for example, selling merchandise on tour would require a full-time merchandise salesperson who would require lodging, food, and other costs, so Fugazi decided to simplify their touring by not selling merchandise. The band was also motivated by moral or ethical considerations: for example, Fugazi's members regarded pricey admission for rock concerts as tantamount to price gouging a performer's most loyal fans. Fugazi's inexpensive target goal of $5 admission was spawned during a conversation on an early tour when the band's members were debating the lowest profitable admission price. Everett True has said that MacKaye and Fugazi "had a mind-set that believed that any involvement with the system was corrupting and that you should create completely alternative structures outside".
In later years, Fugazi was unable to negotiate ticket prices below about $10–$15 total. However, it never saw the $5 rule as inviolable, instead aiming to charge a price that was both affordable and profitable. Unlike some similar, independent rock contemporaries, Fugazi's performances and tours were always profitable, due to the group's popularity, low business overhead costs, and MacKaye's keen sense of audience response in given regions. Many times the band performed sold-out shows multiple consecutive nights at the same venue.
Fugazi's early tours earned it a strong word-of-mouth reputation, both for its powerful performances, and also for the band's eagerness to play in unusual venues. The group sought out alternatives to traditional rock clubs partly to relieve the boredom of touring, but also hoping to show fans that there are other options to traditional ways of doing things. As Picciotto said, "You find the Elks Lodge, you find the guy who's got a space in the back of his pizzeria, you find the guy who has a gallery. Kids will do that stuff because they want to make stuff happen."
The group (MacKaye in particular) also made a point of discouraging violent, unwanted slam dancing and fistfights, which it saw as relics of the late 1970s/early 1980s hardcore punk era. Michael Azerrad quotes Mackaye, "See, [slam dancers] have one form of communication: violence ... So to disorient them, you don't give them violence. I'd say, 'Excuse me, sir ...'- I mean, it freaks them out – 'Excuse me, sir, would you please cut that crap out?'" Azerrad writes, "[MacKaye's] admonitions seemed preachy to some. And by and large, people would obey – it wasn't cool to disrespect Ian MacKaye." Occasionally, Fugazi would have an unrepentant slam-dancer escorted from the concert, and give them an envelope containing a $5 refund (the group kept a stock of such envelopes in their tour van for these occasions).
During the summer of 1990 MacKaye formed the corporation Lunar Atrocities Ltd. in order to shield his own and his bandmates' personal assets from the threat of lawsuits. As MacKaye's financial advisor, Seth Martin, explained to the Washington Post in a 1993 interview: "protection from liability is the main reason to form a corporation, and for these guys it makes sense. If someone got hurt stage-diving and decided to sue, it would be harder to go after their personal assets."
Influence and legacy
Fugazi's music and ethics have been immensely influential on punk and alternative music throughout the years, and has earned the band praise from many notable musicians as well. Sublime "thanked" the band by namedropping them on their debut album. At the Drive-In called the band an influence on their own music, as did other notable post-hardcore bands such as Refused, Quicksand, Drive Like Jehu, Mclusky, and Cursive. John Frusciante named them an influence on Red Hot Chili Peppers' Californication and on his solo album The Will to Death. Nirvana cited the band as an influence, and Kurt Cobain - who was friends with the members of Fugazi - was even spotted in a popular photo of the band with the word "Fugazi" misspelt on both shoes. Eddie Vedder of Pearl Jam remarked that witnessing the band live "was a life-changing experience" for him. Reportedly a huge fan, Elliott Smith was "super-obsessed" with the band and later admitted that his former band Heatmiser was "trying to be Fugazi". The Smiths guitarist Johnny Marr offered the band praise, and called MacKaye one of his favorite guitarists. Towards the end of his life, Joe Strummer, lead vocalist of The Clash, recognized Fugazi as the band that best exemplified "the spirit of punk" in a 2000 Rolling Stone interview, besides offering them accolades on several other occasions. In 1993, Joey Ramone of The Ramones picked the band as a favorite, labeling them a "great social conscience".
Graham Coxon of Blur recalls his introduction to bands such as Fugazi (and the Picciotto-led Rites of Spring) in the mid 90s as being one of the most musically significant moments of his life: "They used the guitar in an incredible way; making quite restrained noisy music, which I'd never heard English bands doing." Jim Adkins of Jimmy Eat World named both MacKaye and Picciotto as an influence on his guitar playing as they made him "more open to the ideas behind guitar playing, as opposed to the technical difficulty of it.". Daniel Kessler of Interpol was also influenced by the band in his guitar-playing, as was Ben Weinman of The Dillinger Escape Plan and Colin Frangicetto of Circa Survive. Tim Commerford of Rage Against the Machine found the band's music on Repeater revelatory, as did Steve Holmes of American Football. Tom DeLonge of Blink-182 called the band a big influence as they "stood for something and never varied from that path." "Fugazi was probably my biggest influence as far as wanting to start a band", Modest Mouse founding member Jeremiah Green admitted, "It was really great music and just sounded like something I could possibly do." Gareth Liddiard, lead vocalist and guitarist of both the Drones and Tropical Fuck Storm, named Fugazi (amongst many others) as an influence on his guitar-playing, and praised the band's live performances. When asked to name some of his favorite records or discographies, Brian Cook of Botch (and later Russian Circles) included the band's entire discography amongst others. Gogol Bordello's Eugene Hutz called the band's debut EP "probably the best I ever heard. It's so together and everything sits in the right place." Jeff Rosenstock not only called the band a big influence on his music, but also on his strict DIY business practices & ethics. Sunny Day Real Estate cited the band as an influence for similar reasons.
In addition, the band was a formative influence on Tool bassist Justin Chancellor, Jack White, Daniel Johns of Silverchair, Carrie Brownstein of Sleater-Kinney, Sara Lund of Unwound, Iceage, ...And You Will Know Us by the Trail of Dead, Dylan Baldi of Cloud Nothings, Arcade Fire lead singer Win Butler, Travis Morrison of The Dismemberment Plan, Efrim Menuck of Godspeed You! Black Emperor, Alison Mosshart of The Kills, Brand New guitarist Jesse Lacey, Converge lead vocalist Jacob Bannon, Coalesce, Tad Kubler of The Hold Steady, Ben Lee, Patterson Hood of Drive-By Truckers, Explosions in the Sky, Kele Okereke of Bloc Party, Trevor de Brauw of Pelican, Ted Leo, Matty Healy of The 1975, Mary Timony, Hayley Williams of Paramore, Justin Vernon of Bon Iver, Chester Bennington of Linkin Park and Lorde.
Members
Current
Ian MacKaye – vocals, guitar (1986–2003)
Joe Lally – bass guitar, vocals (1986–2003)
Brendan Canty – drums (1987–2003)
Guy Picciotto – vocals, guitar (1988/1989–2003)
Former
Colin Sears – drums (1986)
Touring musicians
Jerry Busher – additional drums, trumpet (1998–2002)
Timeline
Discography
Studio albums
Notes
References
External links
Fugazi's page at Dischord
Southern distribution page
[ Fugazi's page at Allmusic]
Rare recorded live Fugazi show, one of the last ever at Austin's Liberty Lunch venue in 1990.
Alternative rock groups from Washington, D.C.
American post-hardcore musical groups
Anti-corporate activism
American art rock groups
Dischord Records artists
Indie rock musical groups from Washington, D.C.
Musical groups established in 1987
Musical quartets
Punk rock groups from Washington, D.C.
American emo musical groups
Musical groups disestablished in 2003
| false |
[
"The advice taker was a hypothetical computer program, proposed by John McCarthy in his 1959 paper \"Programs with Common Sense\". It was probably the first proposal to use logic to represent information in a computer and not just as the subject matter of another program. It may also have been the first paper to propose common sense reasoning ability as the key to Artificial Intelligence. In his paper, McCarthy advocated:\n\n\"…programs to manipulate in a suitable formal language (most likely a part of the predicate calculus) common instrumental statements. The basic program will draw immediate conclusions from a list of premises. These conclusions will be either declarative or imperative sentences. When an imperative sentence is deduced the program takes a corresponding action.\"\n\nMcCarthy justified his proposal as follows:\n\n\"The main advantages we expect the advice taker to have is that its behaviour will be improvable merely by making statements to it, telling it about its symbolic environment and what is wanted from it. To make these statements will require little if any knowledge of the program or the previous knowledge of the advice taker. One will be able to assume that the advice taker will have available to it a fairly wide class of immediate logical consequences of anything it is told and its previous knowledge. This property is expected to have much in common with what makes us describe certain humans as having common sense. We shall therefore say that a program has common sense if it automatically deduces for itself a sufficiently wide class of immediate consequences of anything it is told and what it already knows.\"\n\nReferences\n\n1958 in computing\nComputer-related introductions in 1958\nExperimental programming languages\nHistory of artificial intelligence\nLogic programming",
"The Ages of Three Children puzzle is a logic puzzle which on first inspection seems to have insufficient information to solve, but which rewards those who persist and examine the puzzle critically.\n\nThe puzzle\nA census taker approaches a woman leaning on her gate and asks about her children. She says, \"I have three children and the product of their ages is seventy–two. The sum of their ages is the number on this gate.\" The census taker does some calculation and claims not to have enough information. The woman enters her house, but before slamming the door tells the census taker, \"I have to see to my eldest child who is in bed with measles.\" The census taker departs, satisfied.\n\nThe problem can be presented in different ways, giving the same basic information: the product, that the sum is known, and that there is an oldest child (e.g. their ages adding up to today's date, or the eldest being good at chess).\n\nAnother version of the puzzle gives the age product as thirty–six, which leads to a different set of ages for the children.\n\nSolutions\n\nfor 72 \nThe prime factors of 72 are 2, 2, 2, 3, 3; in other words, \n\nThis gives the following triplets of possible solutions;\n\nBecause the census taker knew the total (from the number on the gate) but said that he had insufficient information to give a definitive answer, there must be more than one solution with the same total.\n\nOnly two sets of possible ages add up to the same totals:\n\nA. \n\nB. \n\nIn case 'A', there is no 'eldest child': two children are aged six (although one could be a few minutes or around 9 to 12 months older and they still both be 6). Therefore, when told that one child is the eldest, the census-taker concludes that the correct solution is 'B'.\n\nfor 36 \nThe prime factors of 36 are 2, 2, 3, 3\nThis gives the following triplets of possible solutions;\n\nUsing the same argument as before it becomes clear that the number on the gate is 13, and the ages 9, 2 and 2.\n\nReferences\n\nLogic puzzles"
] |
[
"Fugazi",
"In On the Kill Taker and Red Medicine (1993-1996)",
"What is the Kill Taker?",
"Fugazi recorded its third album In on the Kill Taker"
] |
C_fcf066dfe02d42c19a7cebde5389bf6f_1
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What about the red medicine?
| 2 |
What is Red Medicine by Fugazi?
|
Fugazi
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After the hardcore punk group Minor Threat dissolved, Ian MacKaye (vocals and guitar) was active with a few short-lived groups, most notably Embrace. MacKaye decided he wanted a project that was "like The Stooges with reggae", but was wary about forming another band after Embrace's break up. MacKaye recalled, "My interests were not necessarily to be in a band, but to be with people who wanted to play music with me." MacKaye recruited ex-Dag Nasty drummer Colin Sears and bass guitarist Joe Lally, and the trio began practicing together in September 1986. After a few months of rehearsals, Sears returned to Dag Nasty and was replaced by Brendan Canty (earlier of Rites of Spring). One day Canty's Rites of Spring bandmate Guy Picciotto dropped by during a practice session to see how his friend was getting along; he later admitted he secretly harbored the idea of joining the group. But Picciotto was disappointed that there seemed to be no place for him. After some uncertainty from Canty about what he wanted to do with his future, the trio regrouped and booked their first show at the Wilson Center in early September 1987. The group still needed a name, so MacKaye chose the word "fugazi" from Mark Baker's Nam, a compilation of stories of Vietnam War veterans, it there being a slang acronym for "Fucked Up, Got Ambushed, Zipped In [into a body bag]". The band began inviting Picciotto to practices. Inspired by use of a foil in hip hop, Picciotto sang backup vocals. After his band Happy Go Licky broke up, he became more involved with Fugazi. MacKaye eventually asked Picciotto to become a full member, which he accepted. With Picciotto playing guitar full-time, Fugazi made the transition into jamming and writing new material as a band as opposed to performing songs composed solely by MacKaye. In addition to working on new material, songs they had been performing live were refined, such as "Merchandise" and "Turnover", for inclusion on their first official full-length studio album. Released on April 19, 1990, through Dischord Records, Repeater did not initially reach the Billboard 200 charts or become a commercial success. However, the band spent most of 1990 and 1991 touring heavily behind Repeater, performing a total of 250 concerts between March 1990 and June 1991, routinely selling out 1,000-plus capacity venues throughout the world. By summer 1991, the album sold more than 300,000 copies, a large number for a label that relied on minimal promotion. While major labels began to court Fugazi, the band decided to stay with Dischord and refused the offers of those labels. Repeater ultimately went on to sell more than 1 million copies in the U.S. alone, and more than 2 million worldwide. The album was critically well received and featured an alternative rock sound that pre-dated significant releases such as Nirvana's Nevermind and Pearl Jam's Ten, which would unexpectedly go on to break the genre into the mainstream. For Fugazi's second studio-album Steady Diet of Nothing, released in July 1991, the band once again asked Ted Niceley to produce. Niceley had become a chef and had to reluctantly turn down the job, so the band members decided to produce the record themselves. After the success of Repeater and its subsequent world tour, Steady Diet was highly anticipated, six months prior to its release Dischord had pre-orders in excess of 160,000 for the album. Fugazi recorded its third album In on the Kill Taker in the fall of 1992 with Steve Albini in Chicago; however, the results were deemed unsatisfactory and the band re-recorded the album with Ted Niceley & Don Zientara. With the breakthrough of alternative rock in the early 1990s, In on the Kill Taker; released on June 30, 1993, became the group's first record to enter the Billboard album charts, received critical praise from Spin, TIME magazine and Rolling Stone, sold 180,000 copies in its first week of release and subsequently became the band's breakthrough album. By the In on the Kill Taker tour, the group began to sell-out large auditoriums and arenas, as well as receive more lucrative major label offers. During the band's sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet Ertegun met with the band backstage in an attempt to sign them. Ertegun offered the band "anything you want", their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined the offer. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down. Fugazi began writing the material for Red Medicine in late 1994, after touring in support of In on the Kill Taker. The band worked with engineer Don Zientara, but did not choose to work with producer Ted Niceley again. Fugazi opted to retreat from the in-your-face production values of In on the Kill Taker and instead worked to create an ambient sound which would display greater range and depth. To achieve this, the band handled production duties themselves, and in doing so, became more confident with in-studio experimentation. Red Medicine would take Fugazi a step further toward art rock. The band began an extensive worldwide tour in support of the album, playing a total of 172 shows between March 1995 and November 1996. CANNOTANSWER
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Fugazi began writing the material for Red Medicine in late 1994,
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Fugazi (; ) is an American post-hardcore band that formed in Washington, D.C. in 1986. The band consists of guitarists and vocalists Ian MacKaye and Guy Picciotto, bassist Joe Lally, and drummer Brendan Canty. They are noted for their style-transcending music, DIY ethical stance, manner of business practice, and contempt for the music industry.
Fugazi has performed numerous worldwide tours and produced six studio albums, a film and a comprehensive live series, gaining the band critical acclaim and success around the world. Highly influential on punk and alternative music, the band has been on an indefinite hiatus since 2003.
History
Formation and early years (1986–1989)
After the hardcore punk group Minor Threat dissolved, MacKaye (vocals and guitar) was active with a few short-lived groups, most notably Embrace. He decided he wanted a project that was "like The Stooges with reggae", but was wary about forming another band after Embrace's breakup. MacKaye recalled, "My interests were not necessarily to be in a band, but to be with people who wanted to play music with me."
MacKaye recruited ex-Dag Nasty drummer Colin Sears and bass guitarist Lally, and the trio began practicing together in September 1986. After a few months of rehearsals, Sears returned to Dag Nasty and was replaced by Canty (earlier of Rites of Spring). One day, Picciotto, Canty's Rites of Spring bandmate, dropped by during a practice session to see how his friend was getting along; he later admitted he secretly harbored the idea of joining the group. But Picciotto was disappointed that there seemed to be no place for him.
After some uncertainty from Canty about what he wanted to do with his future, the trio regrouped and booked their first show at the Wilson Center in early September 1987. The group still needed a name, so MacKaye chose the word "fugazi" from Mark Baker's Nam, a compilation of stories of Vietnam War veterans, it there being a slang acronym for "Fucked Up, Got Ambushed, Zipped In [into a body bag]".
The band began inviting Picciotto to practices. Inspired by use of a foil in hip hop, Picciotto sang backup vocals. After his band Happy Go Licky broke up, he became more involved with Fugazi. MacKaye eventually asked Picciotto to become a full member, and he accepted.
Fugazi EP & Margin Walker – 13 Songs (1988–1989)
Fugazi embarked on its first tour in January 1988. In June 1988 the band recorded its debut EP Fugazi with producer Ted Niceley and producer/engineer Don Zientara (who became a longtime collaborator), and shortly afterward embarked on an arduous tour of Europe.
At the tour's conclusion in December, the band recorded songs for its intended debut album. But the band was spent from touring and found the resulting sessions were unsatisfactory. The track list was cut down to an EP and released as Margin Walker the next year. Both EPs were eventually combined into the 13 Songs release in late 1989. Upon the band's return from Europe, Picciotto, unsatisfied with singing, began playing guitar too.
Repeater and Steady Diet of Nothing (1990–1992)
With Picciotto playing guitar full-time, Fugazi made the transition into jamming and writing new material as a band as opposed to performing songs composed solely by MacKaye. In addition to working on new material, songs they had been performing live were refined, such as "Merchandise" and "Turnover", for inclusion on their first official full-length studio album.
Released on April 19, 1990, through Dischord Records, Repeater did not initially reach the Billboard 200 charts or become a commercial success. But the band spent most of 1990 and 1991 touring heavily behind Repeater, performing 250 concerts between March 1990 and June 1991, routinely selling out 1,000-plus capacity venues throughout the world. By summer 1991, the album sold more than 300,000 copies, a large number for a label that relied on minimal promotion. Major labels began to court Fugazi, but the band stayed with Dischord. It was critically well received and featured an alternative rock sound that predated significant releases such as Nirvana's Nevermind and Pearl Jam's Ten, which unexpectedly broke the genre into the mainstream.
For Fugazi's second studio album, Steady Diet of Nothing, released in July 1991, the band again asked Ted Niceley to produce. Niceley had become a chef and had to reluctantly turn down the job, so the band decided to produce the record itself. After the success of Repeater and its subsequent world tour, Steady Diet was highly anticipated. Six months before its release Dischord had more than 160,000 pre-orders for the album.
In on the Kill Taker and Red Medicine (1993–1996)
Fugazi recorded its third album, In on the Kill Taker, in the fall of 1992 with Steve Albini in Chicago, but the results were deemed unsatisfactory and the band rerecorded the album with Niceley and Don Zientara. With the breakthrough of alternative rock in the early 1990s, In on the Kill Taker; released on June 30, 1993, became the group's first record to enter the Billboard album charts, receiving critical praise from Spin, Time and Rolling Stone, and becoming the band's breakthrough album.
By the In on the Kill Taker tour, the group began to sell out large auditoriums and arenas and receive more lucrative major label offers. During its sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet Ertegun met with the band backstage in an attempt to sign them. Ertegun offered the band "anything you want", their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down.
Fugazi began writing the material for Red Medicine in late 1994, after touring in support of In on the Kill Taker. The band worked with Zientara but chose not to work with Niceley again. Fugazi opted to retreat from the in-your-face production values of In on the Kill Taker and instead worked to create an ambient sound that displayed greater range and depth. To achieve this, the band handled production duties itself, and in doing so, became more confident with in-studio experimentation. Red Medicine took Fugazi a step further toward art rock. The band began an extensive worldwide tour in support of the album, playing 172 shows between March 1995 and November 1996.
End Hits and The Argument (1997–2002)
After the grueling worldwide tour the band completed in support of Red Medicine, Fugazi took an extended break and also began writing material for a follow-up release. By March 1997 Fugazi had once again returned to Inner Ear Studios with Zientara to begin recording what became End Hits, with the intention of taking a more relaxed approach to recording and a longer amount of time to experiment with different songs and techniques in the studio. The group ultimately spent 7 months recording the album. Due to the title, rumors began circulating at the time that it was to be their last release. Released on April 28, 1998, the album was commercially successful and marked one of the band's highest debuts yet on the Billboard charts. Critical reaction to End Hits was mixed. Many critics praised its heavier tracks, while others questioned the inclusion of the group's longer, more experimental songs.
Fugazi began work on The Argument in 1999. This process saw the group taking more time than usual to write and demo material. Each member brought his own riffs and ideas to the band, jammed on them, and then began piecing the songs together into various configurations before deciding on the final versions. The album's recording sessions took place between January and April 2001 at Inner Ear Studios and Dischord House in Arlington, Virginia. The band once again worked with Zientara. During the recording process a considerable amount of time was spent finalizing each song's production, in particular the album's drum tracks, in an effort to give it a unique feel. Canty told Modern Drummer, "We recorded them all very differently in terms of the drum sounds. We used a lot of different cymbals, snares, and ways of miking."
The Argument was released by Dischord Records on October 16, 2001, along with the EP Furniture + 2. Arion Berger of Rolling Stone called the album "bracing" and "intellectual" and Chris True of AllMusic "spine-tingling and ear-shattering all at once", writing, "the band has raised the bar for themselves and others once again." He also wrote that the album had "touched on strange new territory". By this point Fugazi was on tour less, due in large part to other professional and personal commitments. It performed only 32 shows in 2001 and 2002.
Indefinite hiatus and reunion rumours (2003–present)
Fugazi went on what it has called an "indefinite hiatus" after the conclusion of its 2002 UK tour following three sold-out nights at the London Forum on November 2–4, 2002. The hiatus was brought on by the band members' insistence on spending more time with their families and pursuing other professional projects.
Since Fugazi went on hiatus in 2003, rumors began circulating about a reunion, with some insinuating that the band may get back together to headline the Coachella Festival. While the band has confirmed that it has been offered large sums of money to reunite and headline festivals, such as Coachella, it has so far declined the offers.
In March 2011, MacKaye reiterated that Fugazi has "been offered insane amounts of money to play reunions, but it's not going to be money that brings us back together, we would only play music together if we wanted to play music together and time allowed it".
In November 2011, when asked by The A.V. Club about the possibility of a reunion and a follow up to 2001's The Argument, Lally said, "The Argument was a great record that we should try and top. It'll take some time to come together and everything. To do that, we'd have to, the way the four of us are, we would take quite some time, I think, reassociating ourselves musically, and then just letting it come about naturally, because it would have to be a natural thing. So we'll just see."
In August 2014, Dischord announced an official release for First Demo, an album featuring 11 demo songs recorded in January 1988. The announcement included a preview of the demo for the Fugazi track "Merchandise". The album was released on November 18, 2014.
MacKaye insisted in a 2017 interview that Fugazi is not, in fact, broken up. While he admits any future public performance will have to contend with various confounding factors, the members have occasionally played music together, privately, since their 2003 hiatus. On March 21, 2018, in an interview on Vish Khanna's Kreative Kontrol podcast, Lally confirmed the band's irregular practice of casual get-togethers. He stated: "Yeah, when we're all in D.C., we totally hang out together and talk and spend a lot of time laughing. We have a great time together, go out to dinner, and we'll play some music together." Lally also stated that additional public performances or tours were unlikely: "There's so much to try to look after to allow Fugazi to do anything, that we do not have the time to give it the respect that it deserves. So unfortunately, it is where it is."
On February 13, 2019, Louder Sound asked Lally and Canty about the possibility of Fugazi returning, Lally responded "You never want to say never about anything, because how can you say that about the future? But there does seem to be a lack of time to allow it to happen, because the four of us would have to spend a lot of time together to figure out, 'Should we play old songs?' 'Who are we now?' 'What is it now?' We are not the kind of band to get together and just rehearse two hours of old songs to go out and play it, rake in the dough and come home." Canty added, "If we got back together it would have to be from the spirit of creativity. It would be different if we got back together."
Side projects and related work
In the hiatus, the members undertook side projects, with MacKaye forming the duo The Evens with drummer and singer Amy Farina (formerly of the Warmers).
In 2004, MacKaye produced the DC EP for Red Hot Chili Peppers guitarist John Frusciante, which also featured Jerry Busher.
Canty has been doing a variety of soundtrack scores and playing bass in the trio Garland Of Hours alongside frequent Fugazi guest contributors Jerry Busher and Amy Domingues, and has played bass live with Mary Timony. Canty also appears on Bob Mould's 2005 album Body of Song and on Mould's 2008 album District Line, and has toured with Mould, appearing in the live DVD Circle of Friends. He is currently working in the Burn to Shine DVD series which is being released by Trixie DVD. Now, he is playing in Deathfix alongside Devin Ocampo (Medications, Faraquet, Smart Went Crazy, Beauty Pill), Rich Morel (Bob Mould, Blow Off) and Mark Cisneros (Medications, The Make-Up). They will release their album in February 2013 on Dischord Records.
Lally has released three solo albums, There to Here (2006), Nothing Is Underrated (2007), and Why Should I Get Used To It (2011). He has also appeared on fellow DC post-punkers Decahedron's debut album Disconnection_Imminent, as well as on a project with Red Hot Chili Peppers guitarists John Frusciante and Josh Klinghoffer, known as Ataxia. The group has recorded two albums, Automatic Writing (2004) and AW II (2007).
Picciotto currently works as a record producer most notably with Blonde Redhead and The Blood Brothers, and he has performed alongside members of The Ex at the Jazz festival in Wels, Austria. Picciotto also contributed guitar on two Vic Chesnutt albums, 2007's "North Star Deserter and 2009's At the Cut (co-producing the latter), for Constellation Records and performed live with Chesnutt and members of Thee Silver Mount Zion Memorial Orchestra and The Quavers in Jem Cohen's program entitled, "Evening's Civil Twilight in Empires of Tin at the Vienna International Film Festival (Viennale) in 2007 (a DVD of the program was released in 2009). Picciotto played guitar on Chesnutt's Fall/Winter 2009 North American Tour. He has a daughter with musician Kathi Wilcox from the band Bikini Kill and The Frumpies.
In July 2011, Minneapolis based record label Doomtree released an album of mash-ups between Fugazi and east coast veteran rap crew the Wu-Tang Clan. The album is titled 13 Chambers, group name Wugazi. However, Fugazi itself did not have any involvement with the release. Bassist Joe Lally was asked about his thoughts on the Wugazi release, and stated "I think they could've found better Fugazi pieces to sample with Wu-Tang guys rapping on it. I mean, it's enjoyable, and I do appreciate it for the fact that somebody enjoys our music enough to bring it into that. But, you know, I don't know. I guess I should shut up, because I suppose I'm about to run into these people at the Fun Fun Fun Fest festival and talk to them. But I'm afraid that is my opinion on it. It's like, get better samples of our stuff, do better work."
In October 2012, Chris Lawhorn released Fugazi Edits. The album includes 22 instrumental tracks, which sample 100 songs from Fugazi's discography. As in other cases, the band had no involvement in the production. But, the album was authorized for release by MacKaye, with the proceeds going to charity.
In 2016, Canty and Lally joined with guitarist Anthony Pirog to form the Messthetics, Canty and Lally's first project together since Fugazi's hiatus.
In March 2018, the Messthetics released their self-titled debut album and embarked upon a tour of the US and Japan. The band toured further and released a second album entitled Anthropocosmic Nest in 2019.
In 2018, Ian MacKaye, Amy Farina and Joe Lally debuted a new band. In February 2020, it was announced that the band, now called Coriky, would release their first album on March 27, 2020. The debut single, "Clean Kill", was released on February 11, 2020. The band previewed their album at a free show in D.C.'s St. Stephen and the Incarnation Episcopal Church on February 22, 2020. Due to the COVID-19 pandemic, the release of Coriky was delayed to June 12, 2020, in part to accommodate independent record stores closed due to the pandemic. Upon release the record was favorable reviewed in a few publications; often drawing comparisons and contrasts with MacKaye and Farina's other band The Evens, as well as Fugazi.
Live performances
Between 1987 and 2003, Fugazi played over 1000 concerts in all 50 US states and all over the world. Over 800 of these shows were recorded by the band's sound engineers. Beginning in 2004 and continuing into 2005, Fugazi launched a 30 CD Live Series that featured concerts from various points in their career, which were made available for sale via Dischord Records. Continuing with the live series concept and after several years of development on December 1, 2011, Fugazi launched a comprehensive Live Series website through Dischord Records that features 750 recordings available for download at the suggested price of $5 each or a "pay what you want" sliding scale option for each download between $1–100 with the goal of eventually making all 800 of the shows that have been recorded available for purchase. For $500 fans can also purchase an "All Access" privilege which will include access to any future concerts and downloads added to the site.
While each concert was professionally mastered, the recordings capture everything that happened onstage and for preservation's sake the band chose not to edit anything out, singer/guitarist Guy Picciotto explained to the New York Times, "We liked this idea of, 'Let's just let it be everything,' ... There doesn't have to be the idea that this is the great, golden document. It's all there, and it's not cleaned up. You get what you get." The sound quality also varies as the earliest recordings were made to cassettes, then eventually digital formats such as DAT, CD-R and ultimately hard-drives were used. Each concert page also includes flyers, photographs and ticket stubs. As a career-spanning archival project, the Fugazi Live Series has few equals, putting the band in the company of acts like the Grateful Dead, Phish and Pearl Jam, three notable examples of other artists with such a large volume of concerts available for purchase.
Musical style
Fugazi's style has been described as post-hardcore, art punk, alternative rock, and experimental rock. Fugazi's music was an intentional departure from that of the hardcore punk bands the members had played in previously. Fugazi combined punk with funk and reggae beats, irregular stop-start song structures, and heavy riffs inspired by popular rock bands such as Led Zeppelin and Queen, bands that the punk community of the time largely disdained.
Picciotto became the group's second guitarist when he realized MacKaye's typically chunky, low-end riffs and Lally's dub-influenced basslines allowed him to focus on high-pitched parts. In both vocal and guitar roles, Picciotto assumed the role of a foil to MacKaye; employing a Rickenbacker guitar for its scratchy single-coil sound in order to "cut through MacKaye's chunky chording like a laser beam." Picciotto's assumption of guitar duties allowed all four members of the band to jam together and write songs that way, where previously they had played songs largely as MacKaye had arranged them. When writing songs, the band often rearranges them with different structures and different singers. Spin has listed MacKaye and Picciotto together at No. 86 on their list of the 100 Greatest Guitarists of All Time for their unique and interlocking guitar style in Fugazi.
Generally, MacKaye's lyrics and singing are more direct and anthemic (MacKaye admits that he loves audience sing-alongs and writes songs with shout-able slogans), while Picciotto usually favors a more abstract, oblique approach. Lally has contributed vocals to a few songs as well, in which he sings in a more relaxed, quiet style as opposed to MacKaye and Picciotto, whose lyrics and vocals often feature strong emotional intensity. Later, Fugazi more fully integrated elements of punk rock, hardcore, soul and noise with an inventively syncopated rhythm section. Notable is MacKaye and Picciotto's inventive, interlocking guitar playing, which often defies the traditional notion of "lead" and "rhythm" guitars. They often feature unusual and dissonant chords and progressions filtered through a hardcore punk lens.
Each of Fugazi's albums since Repeater have featured an instrumental. By the time of 1995's Red Medicine bassist Joe Lally also began contributing vocals to the band and the group was implementing many of their broader influences into the overall sound. Critics Ian McCaleb and Ira Robbins declared that Fugazi's music combined an "unprecedented dynamic range ... and previously unimagined elements" such as "clattering musique concrète ... piano and sound effects ... murky dub and lancing clarinet" and "loose-limbed jammy funk ... into an ambitious, experimental format that raises more stylistic questions than it answers."
Influences
When questioned by Guitar World in 2002 about the band's influences, singer/guitarist Ian MacKaye responded, "Too many to mention. And not just from the last few years. Some of them predate us by decades, and most of them wouldn't be punk. I would hope any musician would be inspired by a lot of different kinds of music." In a 2004 interview with Indonesian magazine Deathrockstar, Picciotto named "D.C. groups" such as Bad Brains ("who inspired all of us so much at the beginning"), the Faith and Void as influences, in addition to Minutemen, Black Flag, Sonic Youth, the Ex and the Beatles, the latter of which all the members "share[d] a major love for". Despite this, he similarly conceded that "[i]ts [sic] impossible to narrow it down to one band or record because we didn't just crib from one blueprint, we were grabbing ideas from all over the place and then filtering them through our own limited and personally shaped skills."
Business practices
On their first tours, Fugazi worked out its DIY ethic by trial and error. Their decisions were partly motivated by pragmatic considerations that were essentially a punk rock version of simple living: for example, selling merchandise on tour would require a full-time merchandise salesperson who would require lodging, food, and other costs, so Fugazi decided to simplify their touring by not selling merchandise. The band was also motivated by moral or ethical considerations: for example, Fugazi's members regarded pricey admission for rock concerts as tantamount to price gouging a performer's most loyal fans. Fugazi's inexpensive target goal of $5 admission was spawned during a conversation on an early tour when the band's members were debating the lowest profitable admission price. Everett True has said that MacKaye and Fugazi "had a mind-set that believed that any involvement with the system was corrupting and that you should create completely alternative structures outside".
In later years, Fugazi was unable to negotiate ticket prices below about $10–$15 total. However, it never saw the $5 rule as inviolable, instead aiming to charge a price that was both affordable and profitable. Unlike some similar, independent rock contemporaries, Fugazi's performances and tours were always profitable, due to the group's popularity, low business overhead costs, and MacKaye's keen sense of audience response in given regions. Many times the band performed sold-out shows multiple consecutive nights at the same venue.
Fugazi's early tours earned it a strong word-of-mouth reputation, both for its powerful performances, and also for the band's eagerness to play in unusual venues. The group sought out alternatives to traditional rock clubs partly to relieve the boredom of touring, but also hoping to show fans that there are other options to traditional ways of doing things. As Picciotto said, "You find the Elks Lodge, you find the guy who's got a space in the back of his pizzeria, you find the guy who has a gallery. Kids will do that stuff because they want to make stuff happen."
The group (MacKaye in particular) also made a point of discouraging violent, unwanted slam dancing and fistfights, which it saw as relics of the late 1970s/early 1980s hardcore punk era. Michael Azerrad quotes Mackaye, "See, [slam dancers] have one form of communication: violence ... So to disorient them, you don't give them violence. I'd say, 'Excuse me, sir ...'- I mean, it freaks them out – 'Excuse me, sir, would you please cut that crap out?'" Azerrad writes, "[MacKaye's] admonitions seemed preachy to some. And by and large, people would obey – it wasn't cool to disrespect Ian MacKaye." Occasionally, Fugazi would have an unrepentant slam-dancer escorted from the concert, and give them an envelope containing a $5 refund (the group kept a stock of such envelopes in their tour van for these occasions).
During the summer of 1990 MacKaye formed the corporation Lunar Atrocities Ltd. in order to shield his own and his bandmates' personal assets from the threat of lawsuits. As MacKaye's financial advisor, Seth Martin, explained to the Washington Post in a 1993 interview: "protection from liability is the main reason to form a corporation, and for these guys it makes sense. If someone got hurt stage-diving and decided to sue, it would be harder to go after their personal assets."
Influence and legacy
Fugazi's music and ethics have been immensely influential on punk and alternative music throughout the years, and has earned the band praise from many notable musicians as well. Sublime "thanked" the band by namedropping them on their debut album. At the Drive-In called the band an influence on their own music, as did other notable post-hardcore bands such as Refused, Quicksand, Drive Like Jehu, Mclusky, and Cursive. John Frusciante named them an influence on Red Hot Chili Peppers' Californication and on his solo album The Will to Death. Nirvana cited the band as an influence, and Kurt Cobain - who was friends with the members of Fugazi - was even spotted in a popular photo of the band with the word "Fugazi" misspelt on both shoes. Eddie Vedder of Pearl Jam remarked that witnessing the band live "was a life-changing experience" for him. Reportedly a huge fan, Elliott Smith was "super-obsessed" with the band and later admitted that his former band Heatmiser was "trying to be Fugazi". The Smiths guitarist Johnny Marr offered the band praise, and called MacKaye one of his favorite guitarists. Towards the end of his life, Joe Strummer, lead vocalist of The Clash, recognized Fugazi as the band that best exemplified "the spirit of punk" in a 2000 Rolling Stone interview, besides offering them accolades on several other occasions. In 1993, Joey Ramone of The Ramones picked the band as a favorite, labeling them a "great social conscience".
Graham Coxon of Blur recalls his introduction to bands such as Fugazi (and the Picciotto-led Rites of Spring) in the mid 90s as being one of the most musically significant moments of his life: "They used the guitar in an incredible way; making quite restrained noisy music, which I'd never heard English bands doing." Jim Adkins of Jimmy Eat World named both MacKaye and Picciotto as an influence on his guitar playing as they made him "more open to the ideas behind guitar playing, as opposed to the technical difficulty of it.". Daniel Kessler of Interpol was also influenced by the band in his guitar-playing, as was Ben Weinman of The Dillinger Escape Plan and Colin Frangicetto of Circa Survive. Tim Commerford of Rage Against the Machine found the band's music on Repeater revelatory, as did Steve Holmes of American Football. Tom DeLonge of Blink-182 called the band a big influence as they "stood for something and never varied from that path." "Fugazi was probably my biggest influence as far as wanting to start a band", Modest Mouse founding member Jeremiah Green admitted, "It was really great music and just sounded like something I could possibly do." Gareth Liddiard, lead vocalist and guitarist of both the Drones and Tropical Fuck Storm, named Fugazi (amongst many others) as an influence on his guitar-playing, and praised the band's live performances. When asked to name some of his favorite records or discographies, Brian Cook of Botch (and later Russian Circles) included the band's entire discography amongst others. Gogol Bordello's Eugene Hutz called the band's debut EP "probably the best I ever heard. It's so together and everything sits in the right place." Jeff Rosenstock not only called the band a big influence on his music, but also on his strict DIY business practices & ethics. Sunny Day Real Estate cited the band as an influence for similar reasons.
In addition, the band was a formative influence on Tool bassist Justin Chancellor, Jack White, Daniel Johns of Silverchair, Carrie Brownstein of Sleater-Kinney, Sara Lund of Unwound, Iceage, ...And You Will Know Us by the Trail of Dead, Dylan Baldi of Cloud Nothings, Arcade Fire lead singer Win Butler, Travis Morrison of The Dismemberment Plan, Efrim Menuck of Godspeed You! Black Emperor, Alison Mosshart of The Kills, Brand New guitarist Jesse Lacey, Converge lead vocalist Jacob Bannon, Coalesce, Tad Kubler of The Hold Steady, Ben Lee, Patterson Hood of Drive-By Truckers, Explosions in the Sky, Kele Okereke of Bloc Party, Trevor de Brauw of Pelican, Ted Leo, Matty Healy of The 1975, Mary Timony, Hayley Williams of Paramore, Justin Vernon of Bon Iver, Chester Bennington of Linkin Park and Lorde.
Members
Current
Ian MacKaye – vocals, guitar (1986–2003)
Joe Lally – bass guitar, vocals (1986–2003)
Brendan Canty – drums (1987–2003)
Guy Picciotto – vocals, guitar (1988/1989–2003)
Former
Colin Sears – drums (1986)
Touring musicians
Jerry Busher – additional drums, trumpet (1998–2002)
Timeline
Discography
Studio albums
Notes
References
External links
Fugazi's page at Dischord
Southern distribution page
[ Fugazi's page at Allmusic]
Rare recorded live Fugazi show, one of the last ever at Austin's Liberty Lunch venue in 1990.
Alternative rock groups from Washington, D.C.
American post-hardcore musical groups
Anti-corporate activism
American art rock groups
Dischord Records artists
Indie rock musical groups from Washington, D.C.
Musical groups established in 1987
Musical quartets
Punk rock groups from Washington, D.C.
American emo musical groups
Musical groups disestablished in 2003
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[
"The field of social medicine seeks to implement social care through\n understanding how social and economic conditions impact health, disease and the practice of medicine and\n fostering conditions in which this understanding can lead to a healthier society.\n\nSocial medicine as a scientific field gradually began in the early 19th century, the Industrial Revolution and the subsequent increase in poverty and disease among workers raised concerns about the effect of social processes on the health of the poor. The field of social medicine is most commonly addressed today by public health efforts to understand what are known as social determinants of health.\n\nScope\nThe major emphasis on biomedical science in medical education, health care, and medical research has resulted into a gap with our understanding and acknowledgement of far more important social determinants of public health and individual disease: social-economic inequalities, war, illiteracy, detrimental life-styles (smoking, obesity), discrimination because of race, gender and religion. Farmer et al. (2006) gave the following explanation for this gap:\n\nThe holy grail of modern medicine remains the search for a molecular basis of disease. While the practical yield of such circumscribed inquiry has been enormous, exclusive focus on molecular-level phenomena has contributed to the increasing \"desocialization\" of scientific inquiry: a tendency to ask only biological questions about what are in fact biosocial phenomena.\n\nThey further concluded that \"Biosocial understandings of medical phenomena are urgently needed\".\n\nSocial care\nSocial care traditionally takes a different look at issues of impairment and disability by adopting a holistic perspective on health. The social model was developed as a direct response to the medical model, the social model sees barriers (physical, attitudinal and behavioural) not just as a biomedical issue, but as caused in part by the society we live in – as a product of the physical, organizational and social worlds that lead to discrimination (Oliver 1996; French 1993; Oliver and Barnes 1993). Social care advocates equality of opportunities for vulnerable sections of society.\n\nHistory\nGerman physician Rudolf Virchow (1821–1902) laid foundations for this model. Other prominent figures in the history of social medicine, beginning from the 20th century, include Salvador Allende, Henry E. Sigerist, Thomas McKeown, Victor W. Sidel, Howard Waitzkin, and more recently Paul Farmer and Jim Yong Kim.\n\nIn The Second Sickness, Waitzkin traces the history of social medicine from Engels, through Virchow and Allende. Waitzkin has sought to educate North Americans about the contributions of Latin American Social Medicine.\n\nIn 1976, the British public health scientist and health care critic Thomas McKeown, MD, published \"The role of medicine: Dream, mirage or nemesis?\", wherein he summarized facts and arguments that supported what became known as McKeown's thesis, i.e. that the growth of population can be attributed to a decline in mortality from infectious diseases, primarily thanks to better nutrition, later also to better hygiene, and only marginally and late to medical interventions such as antibiotics and vaccines. McKeown was heavily criticized for his controversial ideas, but is nowadays remembered as \"the founder of social medicine\".\n\nSee also\n\n Epidemiology\n Medical anthropology\n Medical sociology\n Social determinants of health in poverty\n Social epidemiology\n Social psychology\n Socialized medicine\n Society for Social Medicine\n\nReferences\n\nBibliography\nSocial Medicine: http://journals.sfu.ca/socialmedicine/index.php/socialmedicine/index\nSocial Medicine Portal: http://www.socialmedicine.org/\n\nMatthew R. Anderson, Lanny Smith, and Victor W. Sidel. What is Social Medicine? Monthly Review: 56(8). http://www.monthlyreview.org/0105anderson.htm\nKing NMP, Strauss RP, Churchill LR, Estroff SE, Henderson GE, et al. editors (2005) Patients, doctors, and illness. Volume I: The social medicine reader 2nd edition Durham: Duke University Press.\nHenderson GE, Estroff SE, Churchill LR, King NMP, Oberlander J, et al. editors (2005) Social and cultural contributions to health, difference, and inequality. Volume II: The social medicine reader 2nd edition Durham: Duke University Press.\nOberlander J, Churchill LR, Estroff SE, Henderson GE, King NMP, et al. editors (2005) Health policy, markets, and medicine. Volume III: The social medicine reader 2nd edition Durham: Duke University Press.\n\nExternal links \n Introduction to the journal: Social Medicine\n What is social medicine?\n\nAnthropology\nDeterminants of health\nMedical terminology\nHistory of medicine\nMedical sociology\nPublic health\nSocial philosophy",
"The symbol of medicine may refer to:\nEmblems of the International Red Cross and Red Crescent Movement\nStar of Life\nRod of Asclepius\n\nSee also\nCaduceus, often mistakenly used as a symbol of medicine due to confusion with the Rod of Asclepius\nRed Cross Youth Song"
] |
[
"Fugazi",
"In On the Kill Taker and Red Medicine (1993-1996)",
"What is the Kill Taker?",
"Fugazi recorded its third album In on the Kill Taker",
"What about the red medicine?",
"Fugazi began writing the material for Red Medicine in late 1994,"
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When was it released officially?
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When was Red Medicine released officially?
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Fugazi
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After the hardcore punk group Minor Threat dissolved, Ian MacKaye (vocals and guitar) was active with a few short-lived groups, most notably Embrace. MacKaye decided he wanted a project that was "like The Stooges with reggae", but was wary about forming another band after Embrace's break up. MacKaye recalled, "My interests were not necessarily to be in a band, but to be with people who wanted to play music with me." MacKaye recruited ex-Dag Nasty drummer Colin Sears and bass guitarist Joe Lally, and the trio began practicing together in September 1986. After a few months of rehearsals, Sears returned to Dag Nasty and was replaced by Brendan Canty (earlier of Rites of Spring). One day Canty's Rites of Spring bandmate Guy Picciotto dropped by during a practice session to see how his friend was getting along; he later admitted he secretly harbored the idea of joining the group. But Picciotto was disappointed that there seemed to be no place for him. After some uncertainty from Canty about what he wanted to do with his future, the trio regrouped and booked their first show at the Wilson Center in early September 1987. The group still needed a name, so MacKaye chose the word "fugazi" from Mark Baker's Nam, a compilation of stories of Vietnam War veterans, it there being a slang acronym for "Fucked Up, Got Ambushed, Zipped In [into a body bag]". The band began inviting Picciotto to practices. Inspired by use of a foil in hip hop, Picciotto sang backup vocals. After his band Happy Go Licky broke up, he became more involved with Fugazi. MacKaye eventually asked Picciotto to become a full member, which he accepted. With Picciotto playing guitar full-time, Fugazi made the transition into jamming and writing new material as a band as opposed to performing songs composed solely by MacKaye. In addition to working on new material, songs they had been performing live were refined, such as "Merchandise" and "Turnover", for inclusion on their first official full-length studio album. Released on April 19, 1990, through Dischord Records, Repeater did not initially reach the Billboard 200 charts or become a commercial success. However, the band spent most of 1990 and 1991 touring heavily behind Repeater, performing a total of 250 concerts between March 1990 and June 1991, routinely selling out 1,000-plus capacity venues throughout the world. By summer 1991, the album sold more than 300,000 copies, a large number for a label that relied on minimal promotion. While major labels began to court Fugazi, the band decided to stay with Dischord and refused the offers of those labels. Repeater ultimately went on to sell more than 1 million copies in the U.S. alone, and more than 2 million worldwide. The album was critically well received and featured an alternative rock sound that pre-dated significant releases such as Nirvana's Nevermind and Pearl Jam's Ten, which would unexpectedly go on to break the genre into the mainstream. For Fugazi's second studio-album Steady Diet of Nothing, released in July 1991, the band once again asked Ted Niceley to produce. Niceley had become a chef and had to reluctantly turn down the job, so the band members decided to produce the record themselves. After the success of Repeater and its subsequent world tour, Steady Diet was highly anticipated, six months prior to its release Dischord had pre-orders in excess of 160,000 for the album. Fugazi recorded its third album In on the Kill Taker in the fall of 1992 with Steve Albini in Chicago; however, the results were deemed unsatisfactory and the band re-recorded the album with Ted Niceley & Don Zientara. With the breakthrough of alternative rock in the early 1990s, In on the Kill Taker; released on June 30, 1993, became the group's first record to enter the Billboard album charts, received critical praise from Spin, TIME magazine and Rolling Stone, sold 180,000 copies in its first week of release and subsequently became the band's breakthrough album. By the In on the Kill Taker tour, the group began to sell-out large auditoriums and arenas, as well as receive more lucrative major label offers. During the band's sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet Ertegun met with the band backstage in an attempt to sign them. Ertegun offered the band "anything you want", their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined the offer. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down. Fugazi began writing the material for Red Medicine in late 1994, after touring in support of In on the Kill Taker. The band worked with engineer Don Zientara, but did not choose to work with producer Ted Niceley again. Fugazi opted to retreat from the in-your-face production values of In on the Kill Taker and instead worked to create an ambient sound which would display greater range and depth. To achieve this, the band handled production duties themselves, and in doing so, became more confident with in-studio experimentation. Red Medicine would take Fugazi a step further toward art rock. The band began an extensive worldwide tour in support of the album, playing a total of 172 shows between March 1995 and November 1996. CANNOTANSWER
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Fugazi (; ) is an American post-hardcore band that formed in Washington, D.C. in 1986. The band consists of guitarists and vocalists Ian MacKaye and Guy Picciotto, bassist Joe Lally, and drummer Brendan Canty. They are noted for their style-transcending music, DIY ethical stance, manner of business practice, and contempt for the music industry.
Fugazi has performed numerous worldwide tours and produced six studio albums, a film and a comprehensive live series, gaining the band critical acclaim and success around the world. Highly influential on punk and alternative music, the band has been on an indefinite hiatus since 2003.
History
Formation and early years (1986–1989)
After the hardcore punk group Minor Threat dissolved, MacKaye (vocals and guitar) was active with a few short-lived groups, most notably Embrace. He decided he wanted a project that was "like The Stooges with reggae", but was wary about forming another band after Embrace's breakup. MacKaye recalled, "My interests were not necessarily to be in a band, but to be with people who wanted to play music with me."
MacKaye recruited ex-Dag Nasty drummer Colin Sears and bass guitarist Lally, and the trio began practicing together in September 1986. After a few months of rehearsals, Sears returned to Dag Nasty and was replaced by Canty (earlier of Rites of Spring). One day, Picciotto, Canty's Rites of Spring bandmate, dropped by during a practice session to see how his friend was getting along; he later admitted he secretly harbored the idea of joining the group. But Picciotto was disappointed that there seemed to be no place for him.
After some uncertainty from Canty about what he wanted to do with his future, the trio regrouped and booked their first show at the Wilson Center in early September 1987. The group still needed a name, so MacKaye chose the word "fugazi" from Mark Baker's Nam, a compilation of stories of Vietnam War veterans, it there being a slang acronym for "Fucked Up, Got Ambushed, Zipped In [into a body bag]".
The band began inviting Picciotto to practices. Inspired by use of a foil in hip hop, Picciotto sang backup vocals. After his band Happy Go Licky broke up, he became more involved with Fugazi. MacKaye eventually asked Picciotto to become a full member, and he accepted.
Fugazi EP & Margin Walker – 13 Songs (1988–1989)
Fugazi embarked on its first tour in January 1988. In June 1988 the band recorded its debut EP Fugazi with producer Ted Niceley and producer/engineer Don Zientara (who became a longtime collaborator), and shortly afterward embarked on an arduous tour of Europe.
At the tour's conclusion in December, the band recorded songs for its intended debut album. But the band was spent from touring and found the resulting sessions were unsatisfactory. The track list was cut down to an EP and released as Margin Walker the next year. Both EPs were eventually combined into the 13 Songs release in late 1989. Upon the band's return from Europe, Picciotto, unsatisfied with singing, began playing guitar too.
Repeater and Steady Diet of Nothing (1990–1992)
With Picciotto playing guitar full-time, Fugazi made the transition into jamming and writing new material as a band as opposed to performing songs composed solely by MacKaye. In addition to working on new material, songs they had been performing live were refined, such as "Merchandise" and "Turnover", for inclusion on their first official full-length studio album.
Released on April 19, 1990, through Dischord Records, Repeater did not initially reach the Billboard 200 charts or become a commercial success. But the band spent most of 1990 and 1991 touring heavily behind Repeater, performing 250 concerts between March 1990 and June 1991, routinely selling out 1,000-plus capacity venues throughout the world. By summer 1991, the album sold more than 300,000 copies, a large number for a label that relied on minimal promotion. Major labels began to court Fugazi, but the band stayed with Dischord. It was critically well received and featured an alternative rock sound that predated significant releases such as Nirvana's Nevermind and Pearl Jam's Ten, which unexpectedly broke the genre into the mainstream.
For Fugazi's second studio album, Steady Diet of Nothing, released in July 1991, the band again asked Ted Niceley to produce. Niceley had become a chef and had to reluctantly turn down the job, so the band decided to produce the record itself. After the success of Repeater and its subsequent world tour, Steady Diet was highly anticipated. Six months before its release Dischord had more than 160,000 pre-orders for the album.
In on the Kill Taker and Red Medicine (1993–1996)
Fugazi recorded its third album, In on the Kill Taker, in the fall of 1992 with Steve Albini in Chicago, but the results were deemed unsatisfactory and the band rerecorded the album with Niceley and Don Zientara. With the breakthrough of alternative rock in the early 1990s, In on the Kill Taker; released on June 30, 1993, became the group's first record to enter the Billboard album charts, receiving critical praise from Spin, Time and Rolling Stone, and becoming the band's breakthrough album.
By the In on the Kill Taker tour, the group began to sell out large auditoriums and arenas and receive more lucrative major label offers. During its sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet Ertegun met with the band backstage in an attempt to sign them. Ertegun offered the band "anything you want", their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down.
Fugazi began writing the material for Red Medicine in late 1994, after touring in support of In on the Kill Taker. The band worked with Zientara but chose not to work with Niceley again. Fugazi opted to retreat from the in-your-face production values of In on the Kill Taker and instead worked to create an ambient sound that displayed greater range and depth. To achieve this, the band handled production duties itself, and in doing so, became more confident with in-studio experimentation. Red Medicine took Fugazi a step further toward art rock. The band began an extensive worldwide tour in support of the album, playing 172 shows between March 1995 and November 1996.
End Hits and The Argument (1997–2002)
After the grueling worldwide tour the band completed in support of Red Medicine, Fugazi took an extended break and also began writing material for a follow-up release. By March 1997 Fugazi had once again returned to Inner Ear Studios with Zientara to begin recording what became End Hits, with the intention of taking a more relaxed approach to recording and a longer amount of time to experiment with different songs and techniques in the studio. The group ultimately spent 7 months recording the album. Due to the title, rumors began circulating at the time that it was to be their last release. Released on April 28, 1998, the album was commercially successful and marked one of the band's highest debuts yet on the Billboard charts. Critical reaction to End Hits was mixed. Many critics praised its heavier tracks, while others questioned the inclusion of the group's longer, more experimental songs.
Fugazi began work on The Argument in 1999. This process saw the group taking more time than usual to write and demo material. Each member brought his own riffs and ideas to the band, jammed on them, and then began piecing the songs together into various configurations before deciding on the final versions. The album's recording sessions took place between January and April 2001 at Inner Ear Studios and Dischord House in Arlington, Virginia. The band once again worked with Zientara. During the recording process a considerable amount of time was spent finalizing each song's production, in particular the album's drum tracks, in an effort to give it a unique feel. Canty told Modern Drummer, "We recorded them all very differently in terms of the drum sounds. We used a lot of different cymbals, snares, and ways of miking."
The Argument was released by Dischord Records on October 16, 2001, along with the EP Furniture + 2. Arion Berger of Rolling Stone called the album "bracing" and "intellectual" and Chris True of AllMusic "spine-tingling and ear-shattering all at once", writing, "the band has raised the bar for themselves and others once again." He also wrote that the album had "touched on strange new territory". By this point Fugazi was on tour less, due in large part to other professional and personal commitments. It performed only 32 shows in 2001 and 2002.
Indefinite hiatus and reunion rumours (2003–present)
Fugazi went on what it has called an "indefinite hiatus" after the conclusion of its 2002 UK tour following three sold-out nights at the London Forum on November 2–4, 2002. The hiatus was brought on by the band members' insistence on spending more time with their families and pursuing other professional projects.
Since Fugazi went on hiatus in 2003, rumors began circulating about a reunion, with some insinuating that the band may get back together to headline the Coachella Festival. While the band has confirmed that it has been offered large sums of money to reunite and headline festivals, such as Coachella, it has so far declined the offers.
In March 2011, MacKaye reiterated that Fugazi has "been offered insane amounts of money to play reunions, but it's not going to be money that brings us back together, we would only play music together if we wanted to play music together and time allowed it".
In November 2011, when asked by The A.V. Club about the possibility of a reunion and a follow up to 2001's The Argument, Lally said, "The Argument was a great record that we should try and top. It'll take some time to come together and everything. To do that, we'd have to, the way the four of us are, we would take quite some time, I think, reassociating ourselves musically, and then just letting it come about naturally, because it would have to be a natural thing. So we'll just see."
In August 2014, Dischord announced an official release for First Demo, an album featuring 11 demo songs recorded in January 1988. The announcement included a preview of the demo for the Fugazi track "Merchandise". The album was released on November 18, 2014.
MacKaye insisted in a 2017 interview that Fugazi is not, in fact, broken up. While he admits any future public performance will have to contend with various confounding factors, the members have occasionally played music together, privately, since their 2003 hiatus. On March 21, 2018, in an interview on Vish Khanna's Kreative Kontrol podcast, Lally confirmed the band's irregular practice of casual get-togethers. He stated: "Yeah, when we're all in D.C., we totally hang out together and talk and spend a lot of time laughing. We have a great time together, go out to dinner, and we'll play some music together." Lally also stated that additional public performances or tours were unlikely: "There's so much to try to look after to allow Fugazi to do anything, that we do not have the time to give it the respect that it deserves. So unfortunately, it is where it is."
On February 13, 2019, Louder Sound asked Lally and Canty about the possibility of Fugazi returning, Lally responded "You never want to say never about anything, because how can you say that about the future? But there does seem to be a lack of time to allow it to happen, because the four of us would have to spend a lot of time together to figure out, 'Should we play old songs?' 'Who are we now?' 'What is it now?' We are not the kind of band to get together and just rehearse two hours of old songs to go out and play it, rake in the dough and come home." Canty added, "If we got back together it would have to be from the spirit of creativity. It would be different if we got back together."
Side projects and related work
In the hiatus, the members undertook side projects, with MacKaye forming the duo The Evens with drummer and singer Amy Farina (formerly of the Warmers).
In 2004, MacKaye produced the DC EP for Red Hot Chili Peppers guitarist John Frusciante, which also featured Jerry Busher.
Canty has been doing a variety of soundtrack scores and playing bass in the trio Garland Of Hours alongside frequent Fugazi guest contributors Jerry Busher and Amy Domingues, and has played bass live with Mary Timony. Canty also appears on Bob Mould's 2005 album Body of Song and on Mould's 2008 album District Line, and has toured with Mould, appearing in the live DVD Circle of Friends. He is currently working in the Burn to Shine DVD series which is being released by Trixie DVD. Now, he is playing in Deathfix alongside Devin Ocampo (Medications, Faraquet, Smart Went Crazy, Beauty Pill), Rich Morel (Bob Mould, Blow Off) and Mark Cisneros (Medications, The Make-Up). They will release their album in February 2013 on Dischord Records.
Lally has released three solo albums, There to Here (2006), Nothing Is Underrated (2007), and Why Should I Get Used To It (2011). He has also appeared on fellow DC post-punkers Decahedron's debut album Disconnection_Imminent, as well as on a project with Red Hot Chili Peppers guitarists John Frusciante and Josh Klinghoffer, known as Ataxia. The group has recorded two albums, Automatic Writing (2004) and AW II (2007).
Picciotto currently works as a record producer most notably with Blonde Redhead and The Blood Brothers, and he has performed alongside members of The Ex at the Jazz festival in Wels, Austria. Picciotto also contributed guitar on two Vic Chesnutt albums, 2007's "North Star Deserter and 2009's At the Cut (co-producing the latter), for Constellation Records and performed live with Chesnutt and members of Thee Silver Mount Zion Memorial Orchestra and The Quavers in Jem Cohen's program entitled, "Evening's Civil Twilight in Empires of Tin at the Vienna International Film Festival (Viennale) in 2007 (a DVD of the program was released in 2009). Picciotto played guitar on Chesnutt's Fall/Winter 2009 North American Tour. He has a daughter with musician Kathi Wilcox from the band Bikini Kill and The Frumpies.
In July 2011, Minneapolis based record label Doomtree released an album of mash-ups between Fugazi and east coast veteran rap crew the Wu-Tang Clan. The album is titled 13 Chambers, group name Wugazi. However, Fugazi itself did not have any involvement with the release. Bassist Joe Lally was asked about his thoughts on the Wugazi release, and stated "I think they could've found better Fugazi pieces to sample with Wu-Tang guys rapping on it. I mean, it's enjoyable, and I do appreciate it for the fact that somebody enjoys our music enough to bring it into that. But, you know, I don't know. I guess I should shut up, because I suppose I'm about to run into these people at the Fun Fun Fun Fest festival and talk to them. But I'm afraid that is my opinion on it. It's like, get better samples of our stuff, do better work."
In October 2012, Chris Lawhorn released Fugazi Edits. The album includes 22 instrumental tracks, which sample 100 songs from Fugazi's discography. As in other cases, the band had no involvement in the production. But, the album was authorized for release by MacKaye, with the proceeds going to charity.
In 2016, Canty and Lally joined with guitarist Anthony Pirog to form the Messthetics, Canty and Lally's first project together since Fugazi's hiatus.
In March 2018, the Messthetics released their self-titled debut album and embarked upon a tour of the US and Japan. The band toured further and released a second album entitled Anthropocosmic Nest in 2019.
In 2018, Ian MacKaye, Amy Farina and Joe Lally debuted a new band. In February 2020, it was announced that the band, now called Coriky, would release their first album on March 27, 2020. The debut single, "Clean Kill", was released on February 11, 2020. The band previewed their album at a free show in D.C.'s St. Stephen and the Incarnation Episcopal Church on February 22, 2020. Due to the COVID-19 pandemic, the release of Coriky was delayed to June 12, 2020, in part to accommodate independent record stores closed due to the pandemic. Upon release the record was favorable reviewed in a few publications; often drawing comparisons and contrasts with MacKaye and Farina's other band The Evens, as well as Fugazi.
Live performances
Between 1987 and 2003, Fugazi played over 1000 concerts in all 50 US states and all over the world. Over 800 of these shows were recorded by the band's sound engineers. Beginning in 2004 and continuing into 2005, Fugazi launched a 30 CD Live Series that featured concerts from various points in their career, which were made available for sale via Dischord Records. Continuing with the live series concept and after several years of development on December 1, 2011, Fugazi launched a comprehensive Live Series website through Dischord Records that features 750 recordings available for download at the suggested price of $5 each or a "pay what you want" sliding scale option for each download between $1–100 with the goal of eventually making all 800 of the shows that have been recorded available for purchase. For $500 fans can also purchase an "All Access" privilege which will include access to any future concerts and downloads added to the site.
While each concert was professionally mastered, the recordings capture everything that happened onstage and for preservation's sake the band chose not to edit anything out, singer/guitarist Guy Picciotto explained to the New York Times, "We liked this idea of, 'Let's just let it be everything,' ... There doesn't have to be the idea that this is the great, golden document. It's all there, and it's not cleaned up. You get what you get." The sound quality also varies as the earliest recordings were made to cassettes, then eventually digital formats such as DAT, CD-R and ultimately hard-drives were used. Each concert page also includes flyers, photographs and ticket stubs. As a career-spanning archival project, the Fugazi Live Series has few equals, putting the band in the company of acts like the Grateful Dead, Phish and Pearl Jam, three notable examples of other artists with such a large volume of concerts available for purchase.
Musical style
Fugazi's style has been described as post-hardcore, art punk, alternative rock, and experimental rock. Fugazi's music was an intentional departure from that of the hardcore punk bands the members had played in previously. Fugazi combined punk with funk and reggae beats, irregular stop-start song structures, and heavy riffs inspired by popular rock bands such as Led Zeppelin and Queen, bands that the punk community of the time largely disdained.
Picciotto became the group's second guitarist when he realized MacKaye's typically chunky, low-end riffs and Lally's dub-influenced basslines allowed him to focus on high-pitched parts. In both vocal and guitar roles, Picciotto assumed the role of a foil to MacKaye; employing a Rickenbacker guitar for its scratchy single-coil sound in order to "cut through MacKaye's chunky chording like a laser beam." Picciotto's assumption of guitar duties allowed all four members of the band to jam together and write songs that way, where previously they had played songs largely as MacKaye had arranged them. When writing songs, the band often rearranges them with different structures and different singers. Spin has listed MacKaye and Picciotto together at No. 86 on their list of the 100 Greatest Guitarists of All Time for their unique and interlocking guitar style in Fugazi.
Generally, MacKaye's lyrics and singing are more direct and anthemic (MacKaye admits that he loves audience sing-alongs and writes songs with shout-able slogans), while Picciotto usually favors a more abstract, oblique approach. Lally has contributed vocals to a few songs as well, in which he sings in a more relaxed, quiet style as opposed to MacKaye and Picciotto, whose lyrics and vocals often feature strong emotional intensity. Later, Fugazi more fully integrated elements of punk rock, hardcore, soul and noise with an inventively syncopated rhythm section. Notable is MacKaye and Picciotto's inventive, interlocking guitar playing, which often defies the traditional notion of "lead" and "rhythm" guitars. They often feature unusual and dissonant chords and progressions filtered through a hardcore punk lens.
Each of Fugazi's albums since Repeater have featured an instrumental. By the time of 1995's Red Medicine bassist Joe Lally also began contributing vocals to the band and the group was implementing many of their broader influences into the overall sound. Critics Ian McCaleb and Ira Robbins declared that Fugazi's music combined an "unprecedented dynamic range ... and previously unimagined elements" such as "clattering musique concrète ... piano and sound effects ... murky dub and lancing clarinet" and "loose-limbed jammy funk ... into an ambitious, experimental format that raises more stylistic questions than it answers."
Influences
When questioned by Guitar World in 2002 about the band's influences, singer/guitarist Ian MacKaye responded, "Too many to mention. And not just from the last few years. Some of them predate us by decades, and most of them wouldn't be punk. I would hope any musician would be inspired by a lot of different kinds of music." In a 2004 interview with Indonesian magazine Deathrockstar, Picciotto named "D.C. groups" such as Bad Brains ("who inspired all of us so much at the beginning"), the Faith and Void as influences, in addition to Minutemen, Black Flag, Sonic Youth, the Ex and the Beatles, the latter of which all the members "share[d] a major love for". Despite this, he similarly conceded that "[i]ts [sic] impossible to narrow it down to one band or record because we didn't just crib from one blueprint, we were grabbing ideas from all over the place and then filtering them through our own limited and personally shaped skills."
Business practices
On their first tours, Fugazi worked out its DIY ethic by trial and error. Their decisions were partly motivated by pragmatic considerations that were essentially a punk rock version of simple living: for example, selling merchandise on tour would require a full-time merchandise salesperson who would require lodging, food, and other costs, so Fugazi decided to simplify their touring by not selling merchandise. The band was also motivated by moral or ethical considerations: for example, Fugazi's members regarded pricey admission for rock concerts as tantamount to price gouging a performer's most loyal fans. Fugazi's inexpensive target goal of $5 admission was spawned during a conversation on an early tour when the band's members were debating the lowest profitable admission price. Everett True has said that MacKaye and Fugazi "had a mind-set that believed that any involvement with the system was corrupting and that you should create completely alternative structures outside".
In later years, Fugazi was unable to negotiate ticket prices below about $10–$15 total. However, it never saw the $5 rule as inviolable, instead aiming to charge a price that was both affordable and profitable. Unlike some similar, independent rock contemporaries, Fugazi's performances and tours were always profitable, due to the group's popularity, low business overhead costs, and MacKaye's keen sense of audience response in given regions. Many times the band performed sold-out shows multiple consecutive nights at the same venue.
Fugazi's early tours earned it a strong word-of-mouth reputation, both for its powerful performances, and also for the band's eagerness to play in unusual venues. The group sought out alternatives to traditional rock clubs partly to relieve the boredom of touring, but also hoping to show fans that there are other options to traditional ways of doing things. As Picciotto said, "You find the Elks Lodge, you find the guy who's got a space in the back of his pizzeria, you find the guy who has a gallery. Kids will do that stuff because they want to make stuff happen."
The group (MacKaye in particular) also made a point of discouraging violent, unwanted slam dancing and fistfights, which it saw as relics of the late 1970s/early 1980s hardcore punk era. Michael Azerrad quotes Mackaye, "See, [slam dancers] have one form of communication: violence ... So to disorient them, you don't give them violence. I'd say, 'Excuse me, sir ...'- I mean, it freaks them out – 'Excuse me, sir, would you please cut that crap out?'" Azerrad writes, "[MacKaye's] admonitions seemed preachy to some. And by and large, people would obey – it wasn't cool to disrespect Ian MacKaye." Occasionally, Fugazi would have an unrepentant slam-dancer escorted from the concert, and give them an envelope containing a $5 refund (the group kept a stock of such envelopes in their tour van for these occasions).
During the summer of 1990 MacKaye formed the corporation Lunar Atrocities Ltd. in order to shield his own and his bandmates' personal assets from the threat of lawsuits. As MacKaye's financial advisor, Seth Martin, explained to the Washington Post in a 1993 interview: "protection from liability is the main reason to form a corporation, and for these guys it makes sense. If someone got hurt stage-diving and decided to sue, it would be harder to go after their personal assets."
Influence and legacy
Fugazi's music and ethics have been immensely influential on punk and alternative music throughout the years, and has earned the band praise from many notable musicians as well. Sublime "thanked" the band by namedropping them on their debut album. At the Drive-In called the band an influence on their own music, as did other notable post-hardcore bands such as Refused, Quicksand, Drive Like Jehu, Mclusky, and Cursive. John Frusciante named them an influence on Red Hot Chili Peppers' Californication and on his solo album The Will to Death. Nirvana cited the band as an influence, and Kurt Cobain - who was friends with the members of Fugazi - was even spotted in a popular photo of the band with the word "Fugazi" misspelt on both shoes. Eddie Vedder of Pearl Jam remarked that witnessing the band live "was a life-changing experience" for him. Reportedly a huge fan, Elliott Smith was "super-obsessed" with the band and later admitted that his former band Heatmiser was "trying to be Fugazi". The Smiths guitarist Johnny Marr offered the band praise, and called MacKaye one of his favorite guitarists. Towards the end of his life, Joe Strummer, lead vocalist of The Clash, recognized Fugazi as the band that best exemplified "the spirit of punk" in a 2000 Rolling Stone interview, besides offering them accolades on several other occasions. In 1993, Joey Ramone of The Ramones picked the band as a favorite, labeling them a "great social conscience".
Graham Coxon of Blur recalls his introduction to bands such as Fugazi (and the Picciotto-led Rites of Spring) in the mid 90s as being one of the most musically significant moments of his life: "They used the guitar in an incredible way; making quite restrained noisy music, which I'd never heard English bands doing." Jim Adkins of Jimmy Eat World named both MacKaye and Picciotto as an influence on his guitar playing as they made him "more open to the ideas behind guitar playing, as opposed to the technical difficulty of it.". Daniel Kessler of Interpol was also influenced by the band in his guitar-playing, as was Ben Weinman of The Dillinger Escape Plan and Colin Frangicetto of Circa Survive. Tim Commerford of Rage Against the Machine found the band's music on Repeater revelatory, as did Steve Holmes of American Football. Tom DeLonge of Blink-182 called the band a big influence as they "stood for something and never varied from that path." "Fugazi was probably my biggest influence as far as wanting to start a band", Modest Mouse founding member Jeremiah Green admitted, "It was really great music and just sounded like something I could possibly do." Gareth Liddiard, lead vocalist and guitarist of both the Drones and Tropical Fuck Storm, named Fugazi (amongst many others) as an influence on his guitar-playing, and praised the band's live performances. When asked to name some of his favorite records or discographies, Brian Cook of Botch (and later Russian Circles) included the band's entire discography amongst others. Gogol Bordello's Eugene Hutz called the band's debut EP "probably the best I ever heard. It's so together and everything sits in the right place." Jeff Rosenstock not only called the band a big influence on his music, but also on his strict DIY business practices & ethics. Sunny Day Real Estate cited the band as an influence for similar reasons.
In addition, the band was a formative influence on Tool bassist Justin Chancellor, Jack White, Daniel Johns of Silverchair, Carrie Brownstein of Sleater-Kinney, Sara Lund of Unwound, Iceage, ...And You Will Know Us by the Trail of Dead, Dylan Baldi of Cloud Nothings, Arcade Fire lead singer Win Butler, Travis Morrison of The Dismemberment Plan, Efrim Menuck of Godspeed You! Black Emperor, Alison Mosshart of The Kills, Brand New guitarist Jesse Lacey, Converge lead vocalist Jacob Bannon, Coalesce, Tad Kubler of The Hold Steady, Ben Lee, Patterson Hood of Drive-By Truckers, Explosions in the Sky, Kele Okereke of Bloc Party, Trevor de Brauw of Pelican, Ted Leo, Matty Healy of The 1975, Mary Timony, Hayley Williams of Paramore, Justin Vernon of Bon Iver, Chester Bennington of Linkin Park and Lorde.
Members
Current
Ian MacKaye – vocals, guitar (1986–2003)
Joe Lally – bass guitar, vocals (1986–2003)
Brendan Canty – drums (1987–2003)
Guy Picciotto – vocals, guitar (1988/1989–2003)
Former
Colin Sears – drums (1986)
Touring musicians
Jerry Busher – additional drums, trumpet (1998–2002)
Timeline
Discography
Studio albums
Notes
References
External links
Fugazi's page at Dischord
Southern distribution page
[ Fugazi's page at Allmusic]
Rare recorded live Fugazi show, one of the last ever at Austin's Liberty Lunch venue in 1990.
Alternative rock groups from Washington, D.C.
American post-hardcore musical groups
Anti-corporate activism
American art rock groups
Dischord Records artists
Indie rock musical groups from Washington, D.C.
Musical groups established in 1987
Musical quartets
Punk rock groups from Washington, D.C.
American emo musical groups
Musical groups disestablished in 2003
| false |
[
"\"Like a Man\" is a song recorded by Onhel, featuring American rapper Lil Wayne. It was released as a single on August 8, 2017.\n\nBackground \nThe song was described as tropical house with \"Wayne's signature croaky, Auto-Tuned vocals\". It was shared on Onhel's Soundcloud page, crediting himself as the primary artist and Wayne as the featured artist. It was released one month after Wayne released four songs. Rumored to be a single off Wayne's unreleased Tha Carter V album, the song was leaked in early August. In response to the leak, Wayne officially released it himself to \"get ahead\" of pirates.\n\nProduction \nThe song was produced by Wayne's long-time audio engineer Onhel, who has produced over fifty songs with him. Wayne said the song was done several years ago but only decided to officially release when he heard the new production. A snippet of the original production was leaked online by hacker group, Music Mafia.\n\nReferences \n\nLil Wayne songs\nTropical house songs\n2017 songs\n2017 singles",
"Heavy Drug (Surrender Sounds Mix) is an EP released by British electronic music group Unkle. According to James Lavelle, the track came about during a late night session, when he and his brother, Adian Lavelle, were working on serveal remix projects, which resulted in what they called a \"happy accident\". The track was reworked during the sessions for Where Did the Night Fall set for release in May 2010. A remix was made during the recording, entitled the Surrender Sounds Mix, which was featured on James Lavelle's Global Underground 037: Bangkok, and was officially released on 16 August. It was delayed in USA, due to distribution errors, and was finally released on 28 August 2009.\n\nA follow-up, Heavy Drug (Surrender Sounds Mix): The Remixes, was released on 27 December 2009, with remixes from King Unique, Steve Mac and Future Beat Alliance.\n\nA video contest for the song was officially revealed on UNKLE's blog.\n\nTrack listing\n\nOriginal\n \"Heavy Drug\" (Surrender Sounds mix) – 8:19\n\nRemixes\n \"Heavy Drug\" (King Unique Smoke Nest mix) – 9:29\n \"Heavy Drug\" (Steve Mac's Smacked Up mix) – 8:15\n \"Heavy Drug\" (Steve Mac's Smacked Up dub) – 7:07\n \"Heavy Drug\" (Future Beat Alliance remix) – 8:25\n\nReferences\n\nUnkle albums\n2009 EPs\nRemix EPs"
] |
[
"Fugazi",
"In On the Kill Taker and Red Medicine (1993-1996)",
"What is the Kill Taker?",
"Fugazi recorded its third album In on the Kill Taker",
"What about the red medicine?",
"Fugazi began writing the material for Red Medicine in late 1994,",
"When was it released officially?",
"I don't know."
] |
C_fcf066dfe02d42c19a7cebde5389bf6f_1
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When did kill taker release?
| 4 |
When did In On the Kill Taker by Fugazi release?
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Fugazi
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After the hardcore punk group Minor Threat dissolved, Ian MacKaye (vocals and guitar) was active with a few short-lived groups, most notably Embrace. MacKaye decided he wanted a project that was "like The Stooges with reggae", but was wary about forming another band after Embrace's break up. MacKaye recalled, "My interests were not necessarily to be in a band, but to be with people who wanted to play music with me." MacKaye recruited ex-Dag Nasty drummer Colin Sears and bass guitarist Joe Lally, and the trio began practicing together in September 1986. After a few months of rehearsals, Sears returned to Dag Nasty and was replaced by Brendan Canty (earlier of Rites of Spring). One day Canty's Rites of Spring bandmate Guy Picciotto dropped by during a practice session to see how his friend was getting along; he later admitted he secretly harbored the idea of joining the group. But Picciotto was disappointed that there seemed to be no place for him. After some uncertainty from Canty about what he wanted to do with his future, the trio regrouped and booked their first show at the Wilson Center in early September 1987. The group still needed a name, so MacKaye chose the word "fugazi" from Mark Baker's Nam, a compilation of stories of Vietnam War veterans, it there being a slang acronym for "Fucked Up, Got Ambushed, Zipped In [into a body bag]". The band began inviting Picciotto to practices. Inspired by use of a foil in hip hop, Picciotto sang backup vocals. After his band Happy Go Licky broke up, he became more involved with Fugazi. MacKaye eventually asked Picciotto to become a full member, which he accepted. With Picciotto playing guitar full-time, Fugazi made the transition into jamming and writing new material as a band as opposed to performing songs composed solely by MacKaye. In addition to working on new material, songs they had been performing live were refined, such as "Merchandise" and "Turnover", for inclusion on their first official full-length studio album. Released on April 19, 1990, through Dischord Records, Repeater did not initially reach the Billboard 200 charts or become a commercial success. However, the band spent most of 1990 and 1991 touring heavily behind Repeater, performing a total of 250 concerts between March 1990 and June 1991, routinely selling out 1,000-plus capacity venues throughout the world. By summer 1991, the album sold more than 300,000 copies, a large number for a label that relied on minimal promotion. While major labels began to court Fugazi, the band decided to stay with Dischord and refused the offers of those labels. Repeater ultimately went on to sell more than 1 million copies in the U.S. alone, and more than 2 million worldwide. The album was critically well received and featured an alternative rock sound that pre-dated significant releases such as Nirvana's Nevermind and Pearl Jam's Ten, which would unexpectedly go on to break the genre into the mainstream. For Fugazi's second studio-album Steady Diet of Nothing, released in July 1991, the band once again asked Ted Niceley to produce. Niceley had become a chef and had to reluctantly turn down the job, so the band members decided to produce the record themselves. After the success of Repeater and its subsequent world tour, Steady Diet was highly anticipated, six months prior to its release Dischord had pre-orders in excess of 160,000 for the album. Fugazi recorded its third album In on the Kill Taker in the fall of 1992 with Steve Albini in Chicago; however, the results were deemed unsatisfactory and the band re-recorded the album with Ted Niceley & Don Zientara. With the breakthrough of alternative rock in the early 1990s, In on the Kill Taker; released on June 30, 1993, became the group's first record to enter the Billboard album charts, received critical praise from Spin, TIME magazine and Rolling Stone, sold 180,000 copies in its first week of release and subsequently became the band's breakthrough album. By the In on the Kill Taker tour, the group began to sell-out large auditoriums and arenas, as well as receive more lucrative major label offers. During the band's sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet Ertegun met with the band backstage in an attempt to sign them. Ertegun offered the band "anything you want", their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined the offer. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down. Fugazi began writing the material for Red Medicine in late 1994, after touring in support of In on the Kill Taker. The band worked with engineer Don Zientara, but did not choose to work with producer Ted Niceley again. Fugazi opted to retreat from the in-your-face production values of In on the Kill Taker and instead worked to create an ambient sound which would display greater range and depth. To achieve this, the band handled production duties themselves, and in doing so, became more confident with in-studio experimentation. Red Medicine would take Fugazi a step further toward art rock. The band began an extensive worldwide tour in support of the album, playing a total of 172 shows between March 1995 and November 1996. CANNOTANSWER
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fall of 1992
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Fugazi (; ) is an American post-hardcore band that formed in Washington, D.C. in 1986. The band consists of guitarists and vocalists Ian MacKaye and Guy Picciotto, bassist Joe Lally, and drummer Brendan Canty. They are noted for their style-transcending music, DIY ethical stance, manner of business practice, and contempt for the music industry.
Fugazi has performed numerous worldwide tours and produced six studio albums, a film and a comprehensive live series, gaining the band critical acclaim and success around the world. Highly influential on punk and alternative music, the band has been on an indefinite hiatus since 2003.
History
Formation and early years (1986–1989)
After the hardcore punk group Minor Threat dissolved, MacKaye (vocals and guitar) was active with a few short-lived groups, most notably Embrace. He decided he wanted a project that was "like The Stooges with reggae", but was wary about forming another band after Embrace's breakup. MacKaye recalled, "My interests were not necessarily to be in a band, but to be with people who wanted to play music with me."
MacKaye recruited ex-Dag Nasty drummer Colin Sears and bass guitarist Lally, and the trio began practicing together in September 1986. After a few months of rehearsals, Sears returned to Dag Nasty and was replaced by Canty (earlier of Rites of Spring). One day, Picciotto, Canty's Rites of Spring bandmate, dropped by during a practice session to see how his friend was getting along; he later admitted he secretly harbored the idea of joining the group. But Picciotto was disappointed that there seemed to be no place for him.
After some uncertainty from Canty about what he wanted to do with his future, the trio regrouped and booked their first show at the Wilson Center in early September 1987. The group still needed a name, so MacKaye chose the word "fugazi" from Mark Baker's Nam, a compilation of stories of Vietnam War veterans, it there being a slang acronym for "Fucked Up, Got Ambushed, Zipped In [into a body bag]".
The band began inviting Picciotto to practices. Inspired by use of a foil in hip hop, Picciotto sang backup vocals. After his band Happy Go Licky broke up, he became more involved with Fugazi. MacKaye eventually asked Picciotto to become a full member, and he accepted.
Fugazi EP & Margin Walker – 13 Songs (1988–1989)
Fugazi embarked on its first tour in January 1988. In June 1988 the band recorded its debut EP Fugazi with producer Ted Niceley and producer/engineer Don Zientara (who became a longtime collaborator), and shortly afterward embarked on an arduous tour of Europe.
At the tour's conclusion in December, the band recorded songs for its intended debut album. But the band was spent from touring and found the resulting sessions were unsatisfactory. The track list was cut down to an EP and released as Margin Walker the next year. Both EPs were eventually combined into the 13 Songs release in late 1989. Upon the band's return from Europe, Picciotto, unsatisfied with singing, began playing guitar too.
Repeater and Steady Diet of Nothing (1990–1992)
With Picciotto playing guitar full-time, Fugazi made the transition into jamming and writing new material as a band as opposed to performing songs composed solely by MacKaye. In addition to working on new material, songs they had been performing live were refined, such as "Merchandise" and "Turnover", for inclusion on their first official full-length studio album.
Released on April 19, 1990, through Dischord Records, Repeater did not initially reach the Billboard 200 charts or become a commercial success. But the band spent most of 1990 and 1991 touring heavily behind Repeater, performing 250 concerts between March 1990 and June 1991, routinely selling out 1,000-plus capacity venues throughout the world. By summer 1991, the album sold more than 300,000 copies, a large number for a label that relied on minimal promotion. Major labels began to court Fugazi, but the band stayed with Dischord. It was critically well received and featured an alternative rock sound that predated significant releases such as Nirvana's Nevermind and Pearl Jam's Ten, which unexpectedly broke the genre into the mainstream.
For Fugazi's second studio album, Steady Diet of Nothing, released in July 1991, the band again asked Ted Niceley to produce. Niceley had become a chef and had to reluctantly turn down the job, so the band decided to produce the record itself. After the success of Repeater and its subsequent world tour, Steady Diet was highly anticipated. Six months before its release Dischord had more than 160,000 pre-orders for the album.
In on the Kill Taker and Red Medicine (1993–1996)
Fugazi recorded its third album, In on the Kill Taker, in the fall of 1992 with Steve Albini in Chicago, but the results were deemed unsatisfactory and the band rerecorded the album with Niceley and Don Zientara. With the breakthrough of alternative rock in the early 1990s, In on the Kill Taker; released on June 30, 1993, became the group's first record to enter the Billboard album charts, receiving critical praise from Spin, Time and Rolling Stone, and becoming the band's breakthrough album.
By the In on the Kill Taker tour, the group began to sell out large auditoriums and arenas and receive more lucrative major label offers. During its sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet Ertegun met with the band backstage in an attempt to sign them. Ertegun offered the band "anything you want", their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down.
Fugazi began writing the material for Red Medicine in late 1994, after touring in support of In on the Kill Taker. The band worked with Zientara but chose not to work with Niceley again. Fugazi opted to retreat from the in-your-face production values of In on the Kill Taker and instead worked to create an ambient sound that displayed greater range and depth. To achieve this, the band handled production duties itself, and in doing so, became more confident with in-studio experimentation. Red Medicine took Fugazi a step further toward art rock. The band began an extensive worldwide tour in support of the album, playing 172 shows between March 1995 and November 1996.
End Hits and The Argument (1997–2002)
After the grueling worldwide tour the band completed in support of Red Medicine, Fugazi took an extended break and also began writing material for a follow-up release. By March 1997 Fugazi had once again returned to Inner Ear Studios with Zientara to begin recording what became End Hits, with the intention of taking a more relaxed approach to recording and a longer amount of time to experiment with different songs and techniques in the studio. The group ultimately spent 7 months recording the album. Due to the title, rumors began circulating at the time that it was to be their last release. Released on April 28, 1998, the album was commercially successful and marked one of the band's highest debuts yet on the Billboard charts. Critical reaction to End Hits was mixed. Many critics praised its heavier tracks, while others questioned the inclusion of the group's longer, more experimental songs.
Fugazi began work on The Argument in 1999. This process saw the group taking more time than usual to write and demo material. Each member brought his own riffs and ideas to the band, jammed on them, and then began piecing the songs together into various configurations before deciding on the final versions. The album's recording sessions took place between January and April 2001 at Inner Ear Studios and Dischord House in Arlington, Virginia. The band once again worked with Zientara. During the recording process a considerable amount of time was spent finalizing each song's production, in particular the album's drum tracks, in an effort to give it a unique feel. Canty told Modern Drummer, "We recorded them all very differently in terms of the drum sounds. We used a lot of different cymbals, snares, and ways of miking."
The Argument was released by Dischord Records on October 16, 2001, along with the EP Furniture + 2. Arion Berger of Rolling Stone called the album "bracing" and "intellectual" and Chris True of AllMusic "spine-tingling and ear-shattering all at once", writing, "the band has raised the bar for themselves and others once again." He also wrote that the album had "touched on strange new territory". By this point Fugazi was on tour less, due in large part to other professional and personal commitments. It performed only 32 shows in 2001 and 2002.
Indefinite hiatus and reunion rumours (2003–present)
Fugazi went on what it has called an "indefinite hiatus" after the conclusion of its 2002 UK tour following three sold-out nights at the London Forum on November 2–4, 2002. The hiatus was brought on by the band members' insistence on spending more time with their families and pursuing other professional projects.
Since Fugazi went on hiatus in 2003, rumors began circulating about a reunion, with some insinuating that the band may get back together to headline the Coachella Festival. While the band has confirmed that it has been offered large sums of money to reunite and headline festivals, such as Coachella, it has so far declined the offers.
In March 2011, MacKaye reiterated that Fugazi has "been offered insane amounts of money to play reunions, but it's not going to be money that brings us back together, we would only play music together if we wanted to play music together and time allowed it".
In November 2011, when asked by The A.V. Club about the possibility of a reunion and a follow up to 2001's The Argument, Lally said, "The Argument was a great record that we should try and top. It'll take some time to come together and everything. To do that, we'd have to, the way the four of us are, we would take quite some time, I think, reassociating ourselves musically, and then just letting it come about naturally, because it would have to be a natural thing. So we'll just see."
In August 2014, Dischord announced an official release for First Demo, an album featuring 11 demo songs recorded in January 1988. The announcement included a preview of the demo for the Fugazi track "Merchandise". The album was released on November 18, 2014.
MacKaye insisted in a 2017 interview that Fugazi is not, in fact, broken up. While he admits any future public performance will have to contend with various confounding factors, the members have occasionally played music together, privately, since their 2003 hiatus. On March 21, 2018, in an interview on Vish Khanna's Kreative Kontrol podcast, Lally confirmed the band's irregular practice of casual get-togethers. He stated: "Yeah, when we're all in D.C., we totally hang out together and talk and spend a lot of time laughing. We have a great time together, go out to dinner, and we'll play some music together." Lally also stated that additional public performances or tours were unlikely: "There's so much to try to look after to allow Fugazi to do anything, that we do not have the time to give it the respect that it deserves. So unfortunately, it is where it is."
On February 13, 2019, Louder Sound asked Lally and Canty about the possibility of Fugazi returning, Lally responded "You never want to say never about anything, because how can you say that about the future? But there does seem to be a lack of time to allow it to happen, because the four of us would have to spend a lot of time together to figure out, 'Should we play old songs?' 'Who are we now?' 'What is it now?' We are not the kind of band to get together and just rehearse two hours of old songs to go out and play it, rake in the dough and come home." Canty added, "If we got back together it would have to be from the spirit of creativity. It would be different if we got back together."
Side projects and related work
In the hiatus, the members undertook side projects, with MacKaye forming the duo The Evens with drummer and singer Amy Farina (formerly of the Warmers).
In 2004, MacKaye produced the DC EP for Red Hot Chili Peppers guitarist John Frusciante, which also featured Jerry Busher.
Canty has been doing a variety of soundtrack scores and playing bass in the trio Garland Of Hours alongside frequent Fugazi guest contributors Jerry Busher and Amy Domingues, and has played bass live with Mary Timony. Canty also appears on Bob Mould's 2005 album Body of Song and on Mould's 2008 album District Line, and has toured with Mould, appearing in the live DVD Circle of Friends. He is currently working in the Burn to Shine DVD series which is being released by Trixie DVD. Now, he is playing in Deathfix alongside Devin Ocampo (Medications, Faraquet, Smart Went Crazy, Beauty Pill), Rich Morel (Bob Mould, Blow Off) and Mark Cisneros (Medications, The Make-Up). They will release their album in February 2013 on Dischord Records.
Lally has released three solo albums, There to Here (2006), Nothing Is Underrated (2007), and Why Should I Get Used To It (2011). He has also appeared on fellow DC post-punkers Decahedron's debut album Disconnection_Imminent, as well as on a project with Red Hot Chili Peppers guitarists John Frusciante and Josh Klinghoffer, known as Ataxia. The group has recorded two albums, Automatic Writing (2004) and AW II (2007).
Picciotto currently works as a record producer most notably with Blonde Redhead and The Blood Brothers, and he has performed alongside members of The Ex at the Jazz festival in Wels, Austria. Picciotto also contributed guitar on two Vic Chesnutt albums, 2007's "North Star Deserter and 2009's At the Cut (co-producing the latter), for Constellation Records and performed live with Chesnutt and members of Thee Silver Mount Zion Memorial Orchestra and The Quavers in Jem Cohen's program entitled, "Evening's Civil Twilight in Empires of Tin at the Vienna International Film Festival (Viennale) in 2007 (a DVD of the program was released in 2009). Picciotto played guitar on Chesnutt's Fall/Winter 2009 North American Tour. He has a daughter with musician Kathi Wilcox from the band Bikini Kill and The Frumpies.
In July 2011, Minneapolis based record label Doomtree released an album of mash-ups between Fugazi and east coast veteran rap crew the Wu-Tang Clan. The album is titled 13 Chambers, group name Wugazi. However, Fugazi itself did not have any involvement with the release. Bassist Joe Lally was asked about his thoughts on the Wugazi release, and stated "I think they could've found better Fugazi pieces to sample with Wu-Tang guys rapping on it. I mean, it's enjoyable, and I do appreciate it for the fact that somebody enjoys our music enough to bring it into that. But, you know, I don't know. I guess I should shut up, because I suppose I'm about to run into these people at the Fun Fun Fun Fest festival and talk to them. But I'm afraid that is my opinion on it. It's like, get better samples of our stuff, do better work."
In October 2012, Chris Lawhorn released Fugazi Edits. The album includes 22 instrumental tracks, which sample 100 songs from Fugazi's discography. As in other cases, the band had no involvement in the production. But, the album was authorized for release by MacKaye, with the proceeds going to charity.
In 2016, Canty and Lally joined with guitarist Anthony Pirog to form the Messthetics, Canty and Lally's first project together since Fugazi's hiatus.
In March 2018, the Messthetics released their self-titled debut album and embarked upon a tour of the US and Japan. The band toured further and released a second album entitled Anthropocosmic Nest in 2019.
In 2018, Ian MacKaye, Amy Farina and Joe Lally debuted a new band. In February 2020, it was announced that the band, now called Coriky, would release their first album on March 27, 2020. The debut single, "Clean Kill", was released on February 11, 2020. The band previewed their album at a free show in D.C.'s St. Stephen and the Incarnation Episcopal Church on February 22, 2020. Due to the COVID-19 pandemic, the release of Coriky was delayed to June 12, 2020, in part to accommodate independent record stores closed due to the pandemic. Upon release the record was favorable reviewed in a few publications; often drawing comparisons and contrasts with MacKaye and Farina's other band The Evens, as well as Fugazi.
Live performances
Between 1987 and 2003, Fugazi played over 1000 concerts in all 50 US states and all over the world. Over 800 of these shows were recorded by the band's sound engineers. Beginning in 2004 and continuing into 2005, Fugazi launched a 30 CD Live Series that featured concerts from various points in their career, which were made available for sale via Dischord Records. Continuing with the live series concept and after several years of development on December 1, 2011, Fugazi launched a comprehensive Live Series website through Dischord Records that features 750 recordings available for download at the suggested price of $5 each or a "pay what you want" sliding scale option for each download between $1–100 with the goal of eventually making all 800 of the shows that have been recorded available for purchase. For $500 fans can also purchase an "All Access" privilege which will include access to any future concerts and downloads added to the site.
While each concert was professionally mastered, the recordings capture everything that happened onstage and for preservation's sake the band chose not to edit anything out, singer/guitarist Guy Picciotto explained to the New York Times, "We liked this idea of, 'Let's just let it be everything,' ... There doesn't have to be the idea that this is the great, golden document. It's all there, and it's not cleaned up. You get what you get." The sound quality also varies as the earliest recordings were made to cassettes, then eventually digital formats such as DAT, CD-R and ultimately hard-drives were used. Each concert page also includes flyers, photographs and ticket stubs. As a career-spanning archival project, the Fugazi Live Series has few equals, putting the band in the company of acts like the Grateful Dead, Phish and Pearl Jam, three notable examples of other artists with such a large volume of concerts available for purchase.
Musical style
Fugazi's style has been described as post-hardcore, art punk, alternative rock, and experimental rock. Fugazi's music was an intentional departure from that of the hardcore punk bands the members had played in previously. Fugazi combined punk with funk and reggae beats, irregular stop-start song structures, and heavy riffs inspired by popular rock bands such as Led Zeppelin and Queen, bands that the punk community of the time largely disdained.
Picciotto became the group's second guitarist when he realized MacKaye's typically chunky, low-end riffs and Lally's dub-influenced basslines allowed him to focus on high-pitched parts. In both vocal and guitar roles, Picciotto assumed the role of a foil to MacKaye; employing a Rickenbacker guitar for its scratchy single-coil sound in order to "cut through MacKaye's chunky chording like a laser beam." Picciotto's assumption of guitar duties allowed all four members of the band to jam together and write songs that way, where previously they had played songs largely as MacKaye had arranged them. When writing songs, the band often rearranges them with different structures and different singers. Spin has listed MacKaye and Picciotto together at No. 86 on their list of the 100 Greatest Guitarists of All Time for their unique and interlocking guitar style in Fugazi.
Generally, MacKaye's lyrics and singing are more direct and anthemic (MacKaye admits that he loves audience sing-alongs and writes songs with shout-able slogans), while Picciotto usually favors a more abstract, oblique approach. Lally has contributed vocals to a few songs as well, in which he sings in a more relaxed, quiet style as opposed to MacKaye and Picciotto, whose lyrics and vocals often feature strong emotional intensity. Later, Fugazi more fully integrated elements of punk rock, hardcore, soul and noise with an inventively syncopated rhythm section. Notable is MacKaye and Picciotto's inventive, interlocking guitar playing, which often defies the traditional notion of "lead" and "rhythm" guitars. They often feature unusual and dissonant chords and progressions filtered through a hardcore punk lens.
Each of Fugazi's albums since Repeater have featured an instrumental. By the time of 1995's Red Medicine bassist Joe Lally also began contributing vocals to the band and the group was implementing many of their broader influences into the overall sound. Critics Ian McCaleb and Ira Robbins declared that Fugazi's music combined an "unprecedented dynamic range ... and previously unimagined elements" such as "clattering musique concrète ... piano and sound effects ... murky dub and lancing clarinet" and "loose-limbed jammy funk ... into an ambitious, experimental format that raises more stylistic questions than it answers."
Influences
When questioned by Guitar World in 2002 about the band's influences, singer/guitarist Ian MacKaye responded, "Too many to mention. And not just from the last few years. Some of them predate us by decades, and most of them wouldn't be punk. I would hope any musician would be inspired by a lot of different kinds of music." In a 2004 interview with Indonesian magazine Deathrockstar, Picciotto named "D.C. groups" such as Bad Brains ("who inspired all of us so much at the beginning"), the Faith and Void as influences, in addition to Minutemen, Black Flag, Sonic Youth, the Ex and the Beatles, the latter of which all the members "share[d] a major love for". Despite this, he similarly conceded that "[i]ts [sic] impossible to narrow it down to one band or record because we didn't just crib from one blueprint, we were grabbing ideas from all over the place and then filtering them through our own limited and personally shaped skills."
Business practices
On their first tours, Fugazi worked out its DIY ethic by trial and error. Their decisions were partly motivated by pragmatic considerations that were essentially a punk rock version of simple living: for example, selling merchandise on tour would require a full-time merchandise salesperson who would require lodging, food, and other costs, so Fugazi decided to simplify their touring by not selling merchandise. The band was also motivated by moral or ethical considerations: for example, Fugazi's members regarded pricey admission for rock concerts as tantamount to price gouging a performer's most loyal fans. Fugazi's inexpensive target goal of $5 admission was spawned during a conversation on an early tour when the band's members were debating the lowest profitable admission price. Everett True has said that MacKaye and Fugazi "had a mind-set that believed that any involvement with the system was corrupting and that you should create completely alternative structures outside".
In later years, Fugazi was unable to negotiate ticket prices below about $10–$15 total. However, it never saw the $5 rule as inviolable, instead aiming to charge a price that was both affordable and profitable. Unlike some similar, independent rock contemporaries, Fugazi's performances and tours were always profitable, due to the group's popularity, low business overhead costs, and MacKaye's keen sense of audience response in given regions. Many times the band performed sold-out shows multiple consecutive nights at the same venue.
Fugazi's early tours earned it a strong word-of-mouth reputation, both for its powerful performances, and also for the band's eagerness to play in unusual venues. The group sought out alternatives to traditional rock clubs partly to relieve the boredom of touring, but also hoping to show fans that there are other options to traditional ways of doing things. As Picciotto said, "You find the Elks Lodge, you find the guy who's got a space in the back of his pizzeria, you find the guy who has a gallery. Kids will do that stuff because they want to make stuff happen."
The group (MacKaye in particular) also made a point of discouraging violent, unwanted slam dancing and fistfights, which it saw as relics of the late 1970s/early 1980s hardcore punk era. Michael Azerrad quotes Mackaye, "See, [slam dancers] have one form of communication: violence ... So to disorient them, you don't give them violence. I'd say, 'Excuse me, sir ...'- I mean, it freaks them out – 'Excuse me, sir, would you please cut that crap out?'" Azerrad writes, "[MacKaye's] admonitions seemed preachy to some. And by and large, people would obey – it wasn't cool to disrespect Ian MacKaye." Occasionally, Fugazi would have an unrepentant slam-dancer escorted from the concert, and give them an envelope containing a $5 refund (the group kept a stock of such envelopes in their tour van for these occasions).
During the summer of 1990 MacKaye formed the corporation Lunar Atrocities Ltd. in order to shield his own and his bandmates' personal assets from the threat of lawsuits. As MacKaye's financial advisor, Seth Martin, explained to the Washington Post in a 1993 interview: "protection from liability is the main reason to form a corporation, and for these guys it makes sense. If someone got hurt stage-diving and decided to sue, it would be harder to go after their personal assets."
Influence and legacy
Fugazi's music and ethics have been immensely influential on punk and alternative music throughout the years, and has earned the band praise from many notable musicians as well. Sublime "thanked" the band by namedropping them on their debut album. At the Drive-In called the band an influence on their own music, as did other notable post-hardcore bands such as Refused, Quicksand, Drive Like Jehu, Mclusky, and Cursive. John Frusciante named them an influence on Red Hot Chili Peppers' Californication and on his solo album The Will to Death. Nirvana cited the band as an influence, and Kurt Cobain - who was friends with the members of Fugazi - was even spotted in a popular photo of the band with the word "Fugazi" misspelt on both shoes. Eddie Vedder of Pearl Jam remarked that witnessing the band live "was a life-changing experience" for him. Reportedly a huge fan, Elliott Smith was "super-obsessed" with the band and later admitted that his former band Heatmiser was "trying to be Fugazi". The Smiths guitarist Johnny Marr offered the band praise, and called MacKaye one of his favorite guitarists. Towards the end of his life, Joe Strummer, lead vocalist of The Clash, recognized Fugazi as the band that best exemplified "the spirit of punk" in a 2000 Rolling Stone interview, besides offering them accolades on several other occasions. In 1993, Joey Ramone of The Ramones picked the band as a favorite, labeling them a "great social conscience".
Graham Coxon of Blur recalls his introduction to bands such as Fugazi (and the Picciotto-led Rites of Spring) in the mid 90s as being one of the most musically significant moments of his life: "They used the guitar in an incredible way; making quite restrained noisy music, which I'd never heard English bands doing." Jim Adkins of Jimmy Eat World named both MacKaye and Picciotto as an influence on his guitar playing as they made him "more open to the ideas behind guitar playing, as opposed to the technical difficulty of it.". Daniel Kessler of Interpol was also influenced by the band in his guitar-playing, as was Ben Weinman of The Dillinger Escape Plan and Colin Frangicetto of Circa Survive. Tim Commerford of Rage Against the Machine found the band's music on Repeater revelatory, as did Steve Holmes of American Football. Tom DeLonge of Blink-182 called the band a big influence as they "stood for something and never varied from that path." "Fugazi was probably my biggest influence as far as wanting to start a band", Modest Mouse founding member Jeremiah Green admitted, "It was really great music and just sounded like something I could possibly do." Gareth Liddiard, lead vocalist and guitarist of both the Drones and Tropical Fuck Storm, named Fugazi (amongst many others) as an influence on his guitar-playing, and praised the band's live performances. When asked to name some of his favorite records or discographies, Brian Cook of Botch (and later Russian Circles) included the band's entire discography amongst others. Gogol Bordello's Eugene Hutz called the band's debut EP "probably the best I ever heard. It's so together and everything sits in the right place." Jeff Rosenstock not only called the band a big influence on his music, but also on his strict DIY business practices & ethics. Sunny Day Real Estate cited the band as an influence for similar reasons.
In addition, the band was a formative influence on Tool bassist Justin Chancellor, Jack White, Daniel Johns of Silverchair, Carrie Brownstein of Sleater-Kinney, Sara Lund of Unwound, Iceage, ...And You Will Know Us by the Trail of Dead, Dylan Baldi of Cloud Nothings, Arcade Fire lead singer Win Butler, Travis Morrison of The Dismemberment Plan, Efrim Menuck of Godspeed You! Black Emperor, Alison Mosshart of The Kills, Brand New guitarist Jesse Lacey, Converge lead vocalist Jacob Bannon, Coalesce, Tad Kubler of The Hold Steady, Ben Lee, Patterson Hood of Drive-By Truckers, Explosions in the Sky, Kele Okereke of Bloc Party, Trevor de Brauw of Pelican, Ted Leo, Matty Healy of The 1975, Mary Timony, Hayley Williams of Paramore, Justin Vernon of Bon Iver, Chester Bennington of Linkin Park and Lorde.
Members
Current
Ian MacKaye – vocals, guitar (1986–2003)
Joe Lally – bass guitar, vocals (1986–2003)
Brendan Canty – drums (1987–2003)
Guy Picciotto – vocals, guitar (1988/1989–2003)
Former
Colin Sears – drums (1986)
Touring musicians
Jerry Busher – additional drums, trumpet (1998–2002)
Timeline
Discography
Studio albums
Notes
References
External links
Fugazi's page at Dischord
Southern distribution page
[ Fugazi's page at Allmusic]
Rare recorded live Fugazi show, one of the last ever at Austin's Liberty Lunch venue in 1990.
Alternative rock groups from Washington, D.C.
American post-hardcore musical groups
Anti-corporate activism
American art rock groups
Dischord Records artists
Indie rock musical groups from Washington, D.C.
Musical groups established in 1987
Musical quartets
Punk rock groups from Washington, D.C.
American emo musical groups
Musical groups disestablished in 2003
| true |
[
"The Census Taker is a 1984 black comedy directed by Bruce R. Cook. It stars Greg Mullavey, Meredith MacRae, Timothy Bottoms, and Garrett Morris. The film was The Residents' first film soundtrack commission when their participation was suggested by Penn Jillette to Cook. It was released by Trans World Entertainment on VHS in 1989 under the title Husbands, Wives, Money & Murder.\n\nPlot\nWhen George (Greg Mullavey) and Martha (Meredith MacRae) let Harvey (Garrett Morris), an annoying census taker, into their home, they find themselves under a barrage of increasingly abusive questions. Furious at his intrusiveness, and at their wit's end, they kill the census taker and with the help of their friends Pete (Timothy Bottoms) and Eva (Austen Tayler), must hide the body from a determined investigator. The film ended in a freeze-frame when Eva and Martha breathed and cried off-screen. (Note: They breathed on-screen, and they cried off-screen)\n\nCast\n Greg Mullavey as George\n Meredith MacRae as Martha\n Garrett Morris as Harvey\n Timothy Bottoms as Pete\n Jennifer Finch as Punk Girl\n Troy Alexander as Edward\n Erin-Bruce Tolcharian as Robert\n William R. Bremer as Sheriff\n\nReferences\n\nExternal links\nThe Census Taker at the Internet Movie Database\nHusbands, Wives, Money, and Murder at Rotten Tomatoes\nHusbands, Wives, Money, and Murder at film.com\nHusbands, Wives, Money, and Murder at movieretriever.com\n\nAmerican television films\nAmerican black comedy films\nAmerican films\n1984 television films\n1984 films",
"In on the Kill Taker is the third full-length studio album by the American post-hardcore band Fugazi. It was released on June 30, 1993 through Dischord Records and was recorded at Inner Ear Studios and produced by Ted Niceley and Don Zientara. In on the Kill Taker captured the aggressiveness of the band's earlier releases while displaying a more diverse range of influences.\n\nDue in part to the popularity of alternative rock in the early 1990s, In on the Kill Taker became the group's first album to debut on the Billboard charts and subsequently became the band's breakthrough album.\n\nRecording\nFugazi recorded in Chicago with producer Steve Albini at Chicago Recording Company studios, with the intention of releasing an EP. They instead recorded an album's worth of material, but were unhappy with the result and re-recorded it in Washington D.C. at Inner Ear Studios with producers Don Zientara and Ted Niceley. The original recordings have been since been bootlegged on filesharing networks.\n\nThe Chicago sessions meant that Fugazi arrived well prepared for the second recording. According to singer/guitarist Guy Picciotto, “I think we really worked much harder on getting the songs together. We did a lot more pre-session demos, not just with Albini, but also using an 8-track reel-to-reel that we had bought to record our practices. It really changed the way we were able to work out the songs. It also helped us school ourselves a bit on how to engineer a basic recording.” The slightly more \"polished\" sound of the record was an intentional result of Niceley \"reacting to what he [had] heard from the popular bands with the same DNA as Fugazi that were getting heavy airplay\" at the time.\n\nMusic and lyrics\nThe material on In on the Kill Taker retained the band's aggressive and rhythmic style, but displayed more diversity as well. Fugazi downplayed any conscious efforts to make Kill Taker more experimental or diverse. According to Picciotto “I don’t really think of any of the records as being any more experimental than any of the others, because to us they were all experiments,” he said. “We were just trying to figure stuff out and push ourselves further each time. So to my ear every record sounds like a step forward, or sideways, or at least somewhere else from the one before it.” Matt Diehl of Rolling Stone labelled the album \"a virtual encyclopedia of punk-derived musical styles\" and recognized a large number of influences from bands such as The Ruts, U.K. Subs (for \"Facet Squared\" and \"Public Witness Program\"), Sonic Youth (for \"Smallpox Champion\"), Gang of Four (for \"Cassavetes\"), Pylon, \"early\" R.E.M. (for \"Sweet and Low\"), and even \"the speedy hardcore sound\" of MacKaye's former band Minor Threat (for \"Great Cop\"). \"23 Beats Off\" earned comparisons to an early Wire track \"literally stretched and pulled out to nearly seven minutes, [as] MacKaye goes from singing (as best he can) to screaming about a man who was once “at the center of some ticker tape parade,” who turns into “a household name with HIV.”\"\n\nJason Diamond writing for Pitchfork noted that \"[l]yrically, it’s also one of the more ambitious albums from the era. While burying any meaning beneath a pile of words like Cobain or bands like Pavement were so fond of doing was certainly du jour, Fugazi liked to mix things up. Picciotto flexed that English degree he got from Georgetown, while MacKaye’s muses were Marx and issues of The Nation.\" The open-ended lyrics to the opening track \"Facet Squared\" \"could either be about nationalism or the facades people wear when they go out in public [...]\". The Picciotto-written \"Smallpox Champion\" references the genocides perpetrated by the United States' founding fathers against native Americans. The album's lyrics frequently reference films, in particular the song \"Cassavetes\" which is a tribute to actor/filmmaker John Cassavetes, as well as a critique of Hollywood culture. The song \"Walken's Syndrome\" references Woody Allen's film Annie Hall, where Christopher Walken's character feels an urge to crash into oncoming traffic at night.\n\nPackaging\nFilmmaker Jem Cohen, a long-time friend and collaborator of the band, was responsible for some of the album's art design and packaging. Found pieces of text and photographs were used to make up the overall layout. The cover image, showing a burned-out gold Polaroid of the Washington Monument, was found by Cohen in the street. The inner sleeve was a piece that Jeremy Blake, a friend of the band, found tacked to a light post in Chicago. The text on the cover side margin and back cover were also found on the ground in New York City by Cohen and contained the phrase \"...so I could have tried to put a stop to the hater, the adversary workers, iniquity evildoers. This is big because people in high places are in on the kill taker\".\n\nRelease\nReleased on the 30th of June, 1993, In on the Kill Taker was the band's first album to enter the Billboard 200, eventually peaking at #153. The album also topped the independent charts of both NME and Melody Maker in the United Kingdom.\n\nTour & popularity\nBy the time the In on the Kill Taker tour was underway, the group began to sell-out large auditoriums and arenas, as well as receive more lucrative major label offers. During the band's sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet Ertegün met with the band backstage in an attempt to sign them. Ertegün offered the band \"anything you want,\" their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined the offer. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down due to its tickets being priced at $33. An article by The Washington Post published in August that year noted that Kurt Cobain and Courtney Love - \"rock's couple of the moment\" - had attended a show of theirs in Seattle and even met the band afterwards. It also recounted a similar level of interest from Michael Stipe (who \"dance[d] the hokey-pokey in the street in front of the Capitol Theatre with Fugazi drummer Brendan Canty\") and Eddie Vedder (who wanted to know where MacKaye and Picciotto lived during a tour of Washington D.C.) as well. A retrospective Pitchfork review from 2018 noted that in the article, \"In on the Kill Taker isn’t brought up until somewhere near the bottom of the piece. It was almost like saying that you liked or knew them was like a badge of honor, it absolved you of your own sins. The music was eclipsed by the message.\"\n\nReception\n\nThe record garnered rave reviews from many publications including TIME and Rolling Stone. Rolling Stone writer Matt Diehl wrote that Fugazi had reclaimed the \"only band that matters\" label from The Clash. In a year-end round-up of the best albums of the year, Brad Tyer of The Houston Press included the album and called the band \"[t]he beating heart of punk rock.\"\n\nHowever, the album received mixed reviews as well. In an otherwise positive review, Jonathan Gold of Los Angeles Times thought that on the album, \"Fugazi works in more or less the same meta-pop ballpark as Sonic Youth,\" and further stated: \"Fugazi hasn't a whimsical bone in its collective body, and the lyrics dance around the gloomiest topics in oblique college-poetry metaphor.\" Spin was even more dismissive, calling it \"Fugazi's most rigid and predictable album yet\" despite its \"spunky moments\", and criticizing their politics as being didactic.\n\nLegacy\n\nRetrospective reviews\nIn on the Kill Taker is now widely seen as the band's breakthrough album. Joe Gross, an independent scholar, authored a book about the album as a part of the 33⅓ series of books dedicated to classic & influential albums, published by Continuum in 2018. In its foreword, critic Rob Sheffield called it \"a widely misunderstood album from a widely misunderstood band, and yet it's an album that lies right at the heart of their story.\" Similarly, AllMusic critic Andy Kellman wrote: \"It's probably Fugazi's least digestible record from front to back, but each track has its own attractive qualities, even if not immediately perceptible.\" Writing for The A.V. Club in 2011, Kyle Ryan ranked it the best album of 1993, writing that it \"showed Fugazi finding its equilibrium; it wasn’t that the band had outgrown its punk-rock foundation (and the community its members treasured); Fugazi had expanded punk’s palette.\" In a very positive retrospective review, Jason Diamond writing for Pitchfork compared the impact of the album to Brian Eno's statement regarding The Velvet Underground's first album: \"the hundreds of thousands of people who bought In on the Kill Taker or saw the band as they trekked across America, Canada, Japan, Australia, and New Zealand, that year and beyond, were impacted in some way.\" In 2021, Uncut wrote that the album \"remains one of the finest records of the alternative-rock boom.\"\n\nAccolades \nAcclaimed Music finds the album to be the 22nd and 259th most acclaimed album of 1993 and of the 90s respectively.\n\nInfluence, covers and tributes\n\"Public Witness Program\" has been covered by Screw 32. It is also the name of a band from Norway. The band Cassavetes took its name from the song of the same name on this album, as did the band Great Cop. Plunderphonics musician Chris Lawhorn used 11 tracks from this album for his album Fugazi Edits. Greg Saunier and André de Ridder along with Stargaze \"re-composed\" the album in its entirety under the title Instruments, which was released on Record Store Day, 2019. Daniel P. Carter, Laura Pleasants (Kylesa) and Amen Dunes have all called the album one of their favorites.\n\nTrack listing\nAll songs by Guy Picciotto, Ian MacKaye, Joe Lally, and Brendan Canty.\n\nPersonnel\nIan Mackaye - vocals, guitar\nGuy Picciotto - vocals, guitar\nJoe Lally - bass\nBrendan Canty - drums\nTechnical\nTed Niceley and Fugazi – production\nDon Zientara – engineering\nChad Clark – 2004 remastering\nJem Cohen – graphic concept, assemblage\nJason Farrell – cover mechanic\nCynthia Connolly – carry out photo\nThe Spectra System – band photo\nJem Cohen, Jeremy Blake – texts\n\nCharts\n\nAlbum\n\nReferences\n\nBibliography\n\nFugazi albums\n1993 albums\nAlbums produced by Ted Niceley\nDischord Records albums\nAlbums produced by Ian MacKaye"
] |
[
"Fugazi",
"In On the Kill Taker and Red Medicine (1993-1996)",
"What is the Kill Taker?",
"Fugazi recorded its third album In on the Kill Taker",
"What about the red medicine?",
"Fugazi began writing the material for Red Medicine in late 1994,",
"When was it released officially?",
"I don't know.",
"When did kill taker release?",
"fall of 1992"
] |
C_fcf066dfe02d42c19a7cebde5389bf6f_1
|
How well was it received?
| 5 |
How well was Fugazi's album In On the Kill Taker received?
|
Fugazi
|
After the hardcore punk group Minor Threat dissolved, Ian MacKaye (vocals and guitar) was active with a few short-lived groups, most notably Embrace. MacKaye decided he wanted a project that was "like The Stooges with reggae", but was wary about forming another band after Embrace's break up. MacKaye recalled, "My interests were not necessarily to be in a band, but to be with people who wanted to play music with me." MacKaye recruited ex-Dag Nasty drummer Colin Sears and bass guitarist Joe Lally, and the trio began practicing together in September 1986. After a few months of rehearsals, Sears returned to Dag Nasty and was replaced by Brendan Canty (earlier of Rites of Spring). One day Canty's Rites of Spring bandmate Guy Picciotto dropped by during a practice session to see how his friend was getting along; he later admitted he secretly harbored the idea of joining the group. But Picciotto was disappointed that there seemed to be no place for him. After some uncertainty from Canty about what he wanted to do with his future, the trio regrouped and booked their first show at the Wilson Center in early September 1987. The group still needed a name, so MacKaye chose the word "fugazi" from Mark Baker's Nam, a compilation of stories of Vietnam War veterans, it there being a slang acronym for "Fucked Up, Got Ambushed, Zipped In [into a body bag]". The band began inviting Picciotto to practices. Inspired by use of a foil in hip hop, Picciotto sang backup vocals. After his band Happy Go Licky broke up, he became more involved with Fugazi. MacKaye eventually asked Picciotto to become a full member, which he accepted. With Picciotto playing guitar full-time, Fugazi made the transition into jamming and writing new material as a band as opposed to performing songs composed solely by MacKaye. In addition to working on new material, songs they had been performing live were refined, such as "Merchandise" and "Turnover", for inclusion on their first official full-length studio album. Released on April 19, 1990, through Dischord Records, Repeater did not initially reach the Billboard 200 charts or become a commercial success. However, the band spent most of 1990 and 1991 touring heavily behind Repeater, performing a total of 250 concerts between March 1990 and June 1991, routinely selling out 1,000-plus capacity venues throughout the world. By summer 1991, the album sold more than 300,000 copies, a large number for a label that relied on minimal promotion. While major labels began to court Fugazi, the band decided to stay with Dischord and refused the offers of those labels. Repeater ultimately went on to sell more than 1 million copies in the U.S. alone, and more than 2 million worldwide. The album was critically well received and featured an alternative rock sound that pre-dated significant releases such as Nirvana's Nevermind and Pearl Jam's Ten, which would unexpectedly go on to break the genre into the mainstream. For Fugazi's second studio-album Steady Diet of Nothing, released in July 1991, the band once again asked Ted Niceley to produce. Niceley had become a chef and had to reluctantly turn down the job, so the band members decided to produce the record themselves. After the success of Repeater and its subsequent world tour, Steady Diet was highly anticipated, six months prior to its release Dischord had pre-orders in excess of 160,000 for the album. Fugazi recorded its third album In on the Kill Taker in the fall of 1992 with Steve Albini in Chicago; however, the results were deemed unsatisfactory and the band re-recorded the album with Ted Niceley & Don Zientara. With the breakthrough of alternative rock in the early 1990s, In on the Kill Taker; released on June 30, 1993, became the group's first record to enter the Billboard album charts, received critical praise from Spin, TIME magazine and Rolling Stone, sold 180,000 copies in its first week of release and subsequently became the band's breakthrough album. By the In on the Kill Taker tour, the group began to sell-out large auditoriums and arenas, as well as receive more lucrative major label offers. During the band's sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet Ertegun met with the band backstage in an attempt to sign them. Ertegun offered the band "anything you want", their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined the offer. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down. Fugazi began writing the material for Red Medicine in late 1994, after touring in support of In on the Kill Taker. The band worked with engineer Don Zientara, but did not choose to work with producer Ted Niceley again. Fugazi opted to retreat from the in-your-face production values of In on the Kill Taker and instead worked to create an ambient sound which would display greater range and depth. To achieve this, the band handled production duties themselves, and in doing so, became more confident with in-studio experimentation. Red Medicine would take Fugazi a step further toward art rock. The band began an extensive worldwide tour in support of the album, playing a total of 172 shows between March 1995 and November 1996. CANNOTANSWER
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however, the results were deemed unsatisfactory and the band re-recorded the album with Ted Niceley & Don Zientara.
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Fugazi (; ) is an American post-hardcore band that formed in Washington, D.C. in 1986. The band consists of guitarists and vocalists Ian MacKaye and Guy Picciotto, bassist Joe Lally, and drummer Brendan Canty. They are noted for their style-transcending music, DIY ethical stance, manner of business practice, and contempt for the music industry.
Fugazi has performed numerous worldwide tours and produced six studio albums, a film and a comprehensive live series, gaining the band critical acclaim and success around the world. Highly influential on punk and alternative music, the band has been on an indefinite hiatus since 2003.
History
Formation and early years (1986–1989)
After the hardcore punk group Minor Threat dissolved, MacKaye (vocals and guitar) was active with a few short-lived groups, most notably Embrace. He decided he wanted a project that was "like The Stooges with reggae", but was wary about forming another band after Embrace's breakup. MacKaye recalled, "My interests were not necessarily to be in a band, but to be with people who wanted to play music with me."
MacKaye recruited ex-Dag Nasty drummer Colin Sears and bass guitarist Lally, and the trio began practicing together in September 1986. After a few months of rehearsals, Sears returned to Dag Nasty and was replaced by Canty (earlier of Rites of Spring). One day, Picciotto, Canty's Rites of Spring bandmate, dropped by during a practice session to see how his friend was getting along; he later admitted he secretly harbored the idea of joining the group. But Picciotto was disappointed that there seemed to be no place for him.
After some uncertainty from Canty about what he wanted to do with his future, the trio regrouped and booked their first show at the Wilson Center in early September 1987. The group still needed a name, so MacKaye chose the word "fugazi" from Mark Baker's Nam, a compilation of stories of Vietnam War veterans, it there being a slang acronym for "Fucked Up, Got Ambushed, Zipped In [into a body bag]".
The band began inviting Picciotto to practices. Inspired by use of a foil in hip hop, Picciotto sang backup vocals. After his band Happy Go Licky broke up, he became more involved with Fugazi. MacKaye eventually asked Picciotto to become a full member, and he accepted.
Fugazi EP & Margin Walker – 13 Songs (1988–1989)
Fugazi embarked on its first tour in January 1988. In June 1988 the band recorded its debut EP Fugazi with producer Ted Niceley and producer/engineer Don Zientara (who became a longtime collaborator), and shortly afterward embarked on an arduous tour of Europe.
At the tour's conclusion in December, the band recorded songs for its intended debut album. But the band was spent from touring and found the resulting sessions were unsatisfactory. The track list was cut down to an EP and released as Margin Walker the next year. Both EPs were eventually combined into the 13 Songs release in late 1989. Upon the band's return from Europe, Picciotto, unsatisfied with singing, began playing guitar too.
Repeater and Steady Diet of Nothing (1990–1992)
With Picciotto playing guitar full-time, Fugazi made the transition into jamming and writing new material as a band as opposed to performing songs composed solely by MacKaye. In addition to working on new material, songs they had been performing live were refined, such as "Merchandise" and "Turnover", for inclusion on their first official full-length studio album.
Released on April 19, 1990, through Dischord Records, Repeater did not initially reach the Billboard 200 charts or become a commercial success. But the band spent most of 1990 and 1991 touring heavily behind Repeater, performing 250 concerts between March 1990 and June 1991, routinely selling out 1,000-plus capacity venues throughout the world. By summer 1991, the album sold more than 300,000 copies, a large number for a label that relied on minimal promotion. Major labels began to court Fugazi, but the band stayed with Dischord. It was critically well received and featured an alternative rock sound that predated significant releases such as Nirvana's Nevermind and Pearl Jam's Ten, which unexpectedly broke the genre into the mainstream.
For Fugazi's second studio album, Steady Diet of Nothing, released in July 1991, the band again asked Ted Niceley to produce. Niceley had become a chef and had to reluctantly turn down the job, so the band decided to produce the record itself. After the success of Repeater and its subsequent world tour, Steady Diet was highly anticipated. Six months before its release Dischord had more than 160,000 pre-orders for the album.
In on the Kill Taker and Red Medicine (1993–1996)
Fugazi recorded its third album, In on the Kill Taker, in the fall of 1992 with Steve Albini in Chicago, but the results were deemed unsatisfactory and the band rerecorded the album with Niceley and Don Zientara. With the breakthrough of alternative rock in the early 1990s, In on the Kill Taker; released on June 30, 1993, became the group's first record to enter the Billboard album charts, receiving critical praise from Spin, Time and Rolling Stone, and becoming the band's breakthrough album.
By the In on the Kill Taker tour, the group began to sell out large auditoriums and arenas and receive more lucrative major label offers. During its sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet Ertegun met with the band backstage in an attempt to sign them. Ertegun offered the band "anything you want", their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down.
Fugazi began writing the material for Red Medicine in late 1994, after touring in support of In on the Kill Taker. The band worked with Zientara but chose not to work with Niceley again. Fugazi opted to retreat from the in-your-face production values of In on the Kill Taker and instead worked to create an ambient sound that displayed greater range and depth. To achieve this, the band handled production duties itself, and in doing so, became more confident with in-studio experimentation. Red Medicine took Fugazi a step further toward art rock. The band began an extensive worldwide tour in support of the album, playing 172 shows between March 1995 and November 1996.
End Hits and The Argument (1997–2002)
After the grueling worldwide tour the band completed in support of Red Medicine, Fugazi took an extended break and also began writing material for a follow-up release. By March 1997 Fugazi had once again returned to Inner Ear Studios with Zientara to begin recording what became End Hits, with the intention of taking a more relaxed approach to recording and a longer amount of time to experiment with different songs and techniques in the studio. The group ultimately spent 7 months recording the album. Due to the title, rumors began circulating at the time that it was to be their last release. Released on April 28, 1998, the album was commercially successful and marked one of the band's highest debuts yet on the Billboard charts. Critical reaction to End Hits was mixed. Many critics praised its heavier tracks, while others questioned the inclusion of the group's longer, more experimental songs.
Fugazi began work on The Argument in 1999. This process saw the group taking more time than usual to write and demo material. Each member brought his own riffs and ideas to the band, jammed on them, and then began piecing the songs together into various configurations before deciding on the final versions. The album's recording sessions took place between January and April 2001 at Inner Ear Studios and Dischord House in Arlington, Virginia. The band once again worked with Zientara. During the recording process a considerable amount of time was spent finalizing each song's production, in particular the album's drum tracks, in an effort to give it a unique feel. Canty told Modern Drummer, "We recorded them all very differently in terms of the drum sounds. We used a lot of different cymbals, snares, and ways of miking."
The Argument was released by Dischord Records on October 16, 2001, along with the EP Furniture + 2. Arion Berger of Rolling Stone called the album "bracing" and "intellectual" and Chris True of AllMusic "spine-tingling and ear-shattering all at once", writing, "the band has raised the bar for themselves and others once again." He also wrote that the album had "touched on strange new territory". By this point Fugazi was on tour less, due in large part to other professional and personal commitments. It performed only 32 shows in 2001 and 2002.
Indefinite hiatus and reunion rumours (2003–present)
Fugazi went on what it has called an "indefinite hiatus" after the conclusion of its 2002 UK tour following three sold-out nights at the London Forum on November 2–4, 2002. The hiatus was brought on by the band members' insistence on spending more time with their families and pursuing other professional projects.
Since Fugazi went on hiatus in 2003, rumors began circulating about a reunion, with some insinuating that the band may get back together to headline the Coachella Festival. While the band has confirmed that it has been offered large sums of money to reunite and headline festivals, such as Coachella, it has so far declined the offers.
In March 2011, MacKaye reiterated that Fugazi has "been offered insane amounts of money to play reunions, but it's not going to be money that brings us back together, we would only play music together if we wanted to play music together and time allowed it".
In November 2011, when asked by The A.V. Club about the possibility of a reunion and a follow up to 2001's The Argument, Lally said, "The Argument was a great record that we should try and top. It'll take some time to come together and everything. To do that, we'd have to, the way the four of us are, we would take quite some time, I think, reassociating ourselves musically, and then just letting it come about naturally, because it would have to be a natural thing. So we'll just see."
In August 2014, Dischord announced an official release for First Demo, an album featuring 11 demo songs recorded in January 1988. The announcement included a preview of the demo for the Fugazi track "Merchandise". The album was released on November 18, 2014.
MacKaye insisted in a 2017 interview that Fugazi is not, in fact, broken up. While he admits any future public performance will have to contend with various confounding factors, the members have occasionally played music together, privately, since their 2003 hiatus. On March 21, 2018, in an interview on Vish Khanna's Kreative Kontrol podcast, Lally confirmed the band's irregular practice of casual get-togethers. He stated: "Yeah, when we're all in D.C., we totally hang out together and talk and spend a lot of time laughing. We have a great time together, go out to dinner, and we'll play some music together." Lally also stated that additional public performances or tours were unlikely: "There's so much to try to look after to allow Fugazi to do anything, that we do not have the time to give it the respect that it deserves. So unfortunately, it is where it is."
On February 13, 2019, Louder Sound asked Lally and Canty about the possibility of Fugazi returning, Lally responded "You never want to say never about anything, because how can you say that about the future? But there does seem to be a lack of time to allow it to happen, because the four of us would have to spend a lot of time together to figure out, 'Should we play old songs?' 'Who are we now?' 'What is it now?' We are not the kind of band to get together and just rehearse two hours of old songs to go out and play it, rake in the dough and come home." Canty added, "If we got back together it would have to be from the spirit of creativity. It would be different if we got back together."
Side projects and related work
In the hiatus, the members undertook side projects, with MacKaye forming the duo The Evens with drummer and singer Amy Farina (formerly of the Warmers).
In 2004, MacKaye produced the DC EP for Red Hot Chili Peppers guitarist John Frusciante, which also featured Jerry Busher.
Canty has been doing a variety of soundtrack scores and playing bass in the trio Garland Of Hours alongside frequent Fugazi guest contributors Jerry Busher and Amy Domingues, and has played bass live with Mary Timony. Canty also appears on Bob Mould's 2005 album Body of Song and on Mould's 2008 album District Line, and has toured with Mould, appearing in the live DVD Circle of Friends. He is currently working in the Burn to Shine DVD series which is being released by Trixie DVD. Now, he is playing in Deathfix alongside Devin Ocampo (Medications, Faraquet, Smart Went Crazy, Beauty Pill), Rich Morel (Bob Mould, Blow Off) and Mark Cisneros (Medications, The Make-Up). They will release their album in February 2013 on Dischord Records.
Lally has released three solo albums, There to Here (2006), Nothing Is Underrated (2007), and Why Should I Get Used To It (2011). He has also appeared on fellow DC post-punkers Decahedron's debut album Disconnection_Imminent, as well as on a project with Red Hot Chili Peppers guitarists John Frusciante and Josh Klinghoffer, known as Ataxia. The group has recorded two albums, Automatic Writing (2004) and AW II (2007).
Picciotto currently works as a record producer most notably with Blonde Redhead and The Blood Brothers, and he has performed alongside members of The Ex at the Jazz festival in Wels, Austria. Picciotto also contributed guitar on two Vic Chesnutt albums, 2007's "North Star Deserter and 2009's At the Cut (co-producing the latter), for Constellation Records and performed live with Chesnutt and members of Thee Silver Mount Zion Memorial Orchestra and The Quavers in Jem Cohen's program entitled, "Evening's Civil Twilight in Empires of Tin at the Vienna International Film Festival (Viennale) in 2007 (a DVD of the program was released in 2009). Picciotto played guitar on Chesnutt's Fall/Winter 2009 North American Tour. He has a daughter with musician Kathi Wilcox from the band Bikini Kill and The Frumpies.
In July 2011, Minneapolis based record label Doomtree released an album of mash-ups between Fugazi and east coast veteran rap crew the Wu-Tang Clan. The album is titled 13 Chambers, group name Wugazi. However, Fugazi itself did not have any involvement with the release. Bassist Joe Lally was asked about his thoughts on the Wugazi release, and stated "I think they could've found better Fugazi pieces to sample with Wu-Tang guys rapping on it. I mean, it's enjoyable, and I do appreciate it for the fact that somebody enjoys our music enough to bring it into that. But, you know, I don't know. I guess I should shut up, because I suppose I'm about to run into these people at the Fun Fun Fun Fest festival and talk to them. But I'm afraid that is my opinion on it. It's like, get better samples of our stuff, do better work."
In October 2012, Chris Lawhorn released Fugazi Edits. The album includes 22 instrumental tracks, which sample 100 songs from Fugazi's discography. As in other cases, the band had no involvement in the production. But, the album was authorized for release by MacKaye, with the proceeds going to charity.
In 2016, Canty and Lally joined with guitarist Anthony Pirog to form the Messthetics, Canty and Lally's first project together since Fugazi's hiatus.
In March 2018, the Messthetics released their self-titled debut album and embarked upon a tour of the US and Japan. The band toured further and released a second album entitled Anthropocosmic Nest in 2019.
In 2018, Ian MacKaye, Amy Farina and Joe Lally debuted a new band. In February 2020, it was announced that the band, now called Coriky, would release their first album on March 27, 2020. The debut single, "Clean Kill", was released on February 11, 2020. The band previewed their album at a free show in D.C.'s St. Stephen and the Incarnation Episcopal Church on February 22, 2020. Due to the COVID-19 pandemic, the release of Coriky was delayed to June 12, 2020, in part to accommodate independent record stores closed due to the pandemic. Upon release the record was favorable reviewed in a few publications; often drawing comparisons and contrasts with MacKaye and Farina's other band The Evens, as well as Fugazi.
Live performances
Between 1987 and 2003, Fugazi played over 1000 concerts in all 50 US states and all over the world. Over 800 of these shows were recorded by the band's sound engineers. Beginning in 2004 and continuing into 2005, Fugazi launched a 30 CD Live Series that featured concerts from various points in their career, which were made available for sale via Dischord Records. Continuing with the live series concept and after several years of development on December 1, 2011, Fugazi launched a comprehensive Live Series website through Dischord Records that features 750 recordings available for download at the suggested price of $5 each or a "pay what you want" sliding scale option for each download between $1–100 with the goal of eventually making all 800 of the shows that have been recorded available for purchase. For $500 fans can also purchase an "All Access" privilege which will include access to any future concerts and downloads added to the site.
While each concert was professionally mastered, the recordings capture everything that happened onstage and for preservation's sake the band chose not to edit anything out, singer/guitarist Guy Picciotto explained to the New York Times, "We liked this idea of, 'Let's just let it be everything,' ... There doesn't have to be the idea that this is the great, golden document. It's all there, and it's not cleaned up. You get what you get." The sound quality also varies as the earliest recordings were made to cassettes, then eventually digital formats such as DAT, CD-R and ultimately hard-drives were used. Each concert page also includes flyers, photographs and ticket stubs. As a career-spanning archival project, the Fugazi Live Series has few equals, putting the band in the company of acts like the Grateful Dead, Phish and Pearl Jam, three notable examples of other artists with such a large volume of concerts available for purchase.
Musical style
Fugazi's style has been described as post-hardcore, art punk, alternative rock, and experimental rock. Fugazi's music was an intentional departure from that of the hardcore punk bands the members had played in previously. Fugazi combined punk with funk and reggae beats, irregular stop-start song structures, and heavy riffs inspired by popular rock bands such as Led Zeppelin and Queen, bands that the punk community of the time largely disdained.
Picciotto became the group's second guitarist when he realized MacKaye's typically chunky, low-end riffs and Lally's dub-influenced basslines allowed him to focus on high-pitched parts. In both vocal and guitar roles, Picciotto assumed the role of a foil to MacKaye; employing a Rickenbacker guitar for its scratchy single-coil sound in order to "cut through MacKaye's chunky chording like a laser beam." Picciotto's assumption of guitar duties allowed all four members of the band to jam together and write songs that way, where previously they had played songs largely as MacKaye had arranged them. When writing songs, the band often rearranges them with different structures and different singers. Spin has listed MacKaye and Picciotto together at No. 86 on their list of the 100 Greatest Guitarists of All Time for their unique and interlocking guitar style in Fugazi.
Generally, MacKaye's lyrics and singing are more direct and anthemic (MacKaye admits that he loves audience sing-alongs and writes songs with shout-able slogans), while Picciotto usually favors a more abstract, oblique approach. Lally has contributed vocals to a few songs as well, in which he sings in a more relaxed, quiet style as opposed to MacKaye and Picciotto, whose lyrics and vocals often feature strong emotional intensity. Later, Fugazi more fully integrated elements of punk rock, hardcore, soul and noise with an inventively syncopated rhythm section. Notable is MacKaye and Picciotto's inventive, interlocking guitar playing, which often defies the traditional notion of "lead" and "rhythm" guitars. They often feature unusual and dissonant chords and progressions filtered through a hardcore punk lens.
Each of Fugazi's albums since Repeater have featured an instrumental. By the time of 1995's Red Medicine bassist Joe Lally also began contributing vocals to the band and the group was implementing many of their broader influences into the overall sound. Critics Ian McCaleb and Ira Robbins declared that Fugazi's music combined an "unprecedented dynamic range ... and previously unimagined elements" such as "clattering musique concrète ... piano and sound effects ... murky dub and lancing clarinet" and "loose-limbed jammy funk ... into an ambitious, experimental format that raises more stylistic questions than it answers."
Influences
When questioned by Guitar World in 2002 about the band's influences, singer/guitarist Ian MacKaye responded, "Too many to mention. And not just from the last few years. Some of them predate us by decades, and most of them wouldn't be punk. I would hope any musician would be inspired by a lot of different kinds of music." In a 2004 interview with Indonesian magazine Deathrockstar, Picciotto named "D.C. groups" such as Bad Brains ("who inspired all of us so much at the beginning"), the Faith and Void as influences, in addition to Minutemen, Black Flag, Sonic Youth, the Ex and the Beatles, the latter of which all the members "share[d] a major love for". Despite this, he similarly conceded that "[i]ts [sic] impossible to narrow it down to one band or record because we didn't just crib from one blueprint, we were grabbing ideas from all over the place and then filtering them through our own limited and personally shaped skills."
Business practices
On their first tours, Fugazi worked out its DIY ethic by trial and error. Their decisions were partly motivated by pragmatic considerations that were essentially a punk rock version of simple living: for example, selling merchandise on tour would require a full-time merchandise salesperson who would require lodging, food, and other costs, so Fugazi decided to simplify their touring by not selling merchandise. The band was also motivated by moral or ethical considerations: for example, Fugazi's members regarded pricey admission for rock concerts as tantamount to price gouging a performer's most loyal fans. Fugazi's inexpensive target goal of $5 admission was spawned during a conversation on an early tour when the band's members were debating the lowest profitable admission price. Everett True has said that MacKaye and Fugazi "had a mind-set that believed that any involvement with the system was corrupting and that you should create completely alternative structures outside".
In later years, Fugazi was unable to negotiate ticket prices below about $10–$15 total. However, it never saw the $5 rule as inviolable, instead aiming to charge a price that was both affordable and profitable. Unlike some similar, independent rock contemporaries, Fugazi's performances and tours were always profitable, due to the group's popularity, low business overhead costs, and MacKaye's keen sense of audience response in given regions. Many times the band performed sold-out shows multiple consecutive nights at the same venue.
Fugazi's early tours earned it a strong word-of-mouth reputation, both for its powerful performances, and also for the band's eagerness to play in unusual venues. The group sought out alternatives to traditional rock clubs partly to relieve the boredom of touring, but also hoping to show fans that there are other options to traditional ways of doing things. As Picciotto said, "You find the Elks Lodge, you find the guy who's got a space in the back of his pizzeria, you find the guy who has a gallery. Kids will do that stuff because they want to make stuff happen."
The group (MacKaye in particular) also made a point of discouraging violent, unwanted slam dancing and fistfights, which it saw as relics of the late 1970s/early 1980s hardcore punk era. Michael Azerrad quotes Mackaye, "See, [slam dancers] have one form of communication: violence ... So to disorient them, you don't give them violence. I'd say, 'Excuse me, sir ...'- I mean, it freaks them out – 'Excuse me, sir, would you please cut that crap out?'" Azerrad writes, "[MacKaye's] admonitions seemed preachy to some. And by and large, people would obey – it wasn't cool to disrespect Ian MacKaye." Occasionally, Fugazi would have an unrepentant slam-dancer escorted from the concert, and give them an envelope containing a $5 refund (the group kept a stock of such envelopes in their tour van for these occasions).
During the summer of 1990 MacKaye formed the corporation Lunar Atrocities Ltd. in order to shield his own and his bandmates' personal assets from the threat of lawsuits. As MacKaye's financial advisor, Seth Martin, explained to the Washington Post in a 1993 interview: "protection from liability is the main reason to form a corporation, and for these guys it makes sense. If someone got hurt stage-diving and decided to sue, it would be harder to go after their personal assets."
Influence and legacy
Fugazi's music and ethics have been immensely influential on punk and alternative music throughout the years, and has earned the band praise from many notable musicians as well. Sublime "thanked" the band by namedropping them on their debut album. At the Drive-In called the band an influence on their own music, as did other notable post-hardcore bands such as Refused, Quicksand, Drive Like Jehu, Mclusky, and Cursive. John Frusciante named them an influence on Red Hot Chili Peppers' Californication and on his solo album The Will to Death. Nirvana cited the band as an influence, and Kurt Cobain - who was friends with the members of Fugazi - was even spotted in a popular photo of the band with the word "Fugazi" misspelt on both shoes. Eddie Vedder of Pearl Jam remarked that witnessing the band live "was a life-changing experience" for him. Reportedly a huge fan, Elliott Smith was "super-obsessed" with the band and later admitted that his former band Heatmiser was "trying to be Fugazi". The Smiths guitarist Johnny Marr offered the band praise, and called MacKaye one of his favorite guitarists. Towards the end of his life, Joe Strummer, lead vocalist of The Clash, recognized Fugazi as the band that best exemplified "the spirit of punk" in a 2000 Rolling Stone interview, besides offering them accolades on several other occasions. In 1993, Joey Ramone of The Ramones picked the band as a favorite, labeling them a "great social conscience".
Graham Coxon of Blur recalls his introduction to bands such as Fugazi (and the Picciotto-led Rites of Spring) in the mid 90s as being one of the most musically significant moments of his life: "They used the guitar in an incredible way; making quite restrained noisy music, which I'd never heard English bands doing." Jim Adkins of Jimmy Eat World named both MacKaye and Picciotto as an influence on his guitar playing as they made him "more open to the ideas behind guitar playing, as opposed to the technical difficulty of it.". Daniel Kessler of Interpol was also influenced by the band in his guitar-playing, as was Ben Weinman of The Dillinger Escape Plan and Colin Frangicetto of Circa Survive. Tim Commerford of Rage Against the Machine found the band's music on Repeater revelatory, as did Steve Holmes of American Football. Tom DeLonge of Blink-182 called the band a big influence as they "stood for something and never varied from that path." "Fugazi was probably my biggest influence as far as wanting to start a band", Modest Mouse founding member Jeremiah Green admitted, "It was really great music and just sounded like something I could possibly do." Gareth Liddiard, lead vocalist and guitarist of both the Drones and Tropical Fuck Storm, named Fugazi (amongst many others) as an influence on his guitar-playing, and praised the band's live performances. When asked to name some of his favorite records or discographies, Brian Cook of Botch (and later Russian Circles) included the band's entire discography amongst others. Gogol Bordello's Eugene Hutz called the band's debut EP "probably the best I ever heard. It's so together and everything sits in the right place." Jeff Rosenstock not only called the band a big influence on his music, but also on his strict DIY business practices & ethics. Sunny Day Real Estate cited the band as an influence for similar reasons.
In addition, the band was a formative influence on Tool bassist Justin Chancellor, Jack White, Daniel Johns of Silverchair, Carrie Brownstein of Sleater-Kinney, Sara Lund of Unwound, Iceage, ...And You Will Know Us by the Trail of Dead, Dylan Baldi of Cloud Nothings, Arcade Fire lead singer Win Butler, Travis Morrison of The Dismemberment Plan, Efrim Menuck of Godspeed You! Black Emperor, Alison Mosshart of The Kills, Brand New guitarist Jesse Lacey, Converge lead vocalist Jacob Bannon, Coalesce, Tad Kubler of The Hold Steady, Ben Lee, Patterson Hood of Drive-By Truckers, Explosions in the Sky, Kele Okereke of Bloc Party, Trevor de Brauw of Pelican, Ted Leo, Matty Healy of The 1975, Mary Timony, Hayley Williams of Paramore, Justin Vernon of Bon Iver, Chester Bennington of Linkin Park and Lorde.
Members
Current
Ian MacKaye – vocals, guitar (1986–2003)
Joe Lally – bass guitar, vocals (1986–2003)
Brendan Canty – drums (1987–2003)
Guy Picciotto – vocals, guitar (1988/1989–2003)
Former
Colin Sears – drums (1986)
Touring musicians
Jerry Busher – additional drums, trumpet (1998–2002)
Timeline
Discography
Studio albums
Notes
References
External links
Fugazi's page at Dischord
Southern distribution page
[ Fugazi's page at Allmusic]
Rare recorded live Fugazi show, one of the last ever at Austin's Liberty Lunch venue in 1990.
Alternative rock groups from Washington, D.C.
American post-hardcore musical groups
Anti-corporate activism
American art rock groups
Dischord Records artists
Indie rock musical groups from Washington, D.C.
Musical groups established in 1987
Musical quartets
Punk rock groups from Washington, D.C.
American emo musical groups
Musical groups disestablished in 2003
| false |
[
"How Is Your Fish Today?, also known as Jin Tian De Yu Zen Me Yang?, is a 2007 Chinese film written by Xiaolu Guo and Hui Rao. It was directed by Xiaolu Guo. The film is a drama set in modern China, focusing on the intertwined stories of two main characters; a frustrated writer (Hui Rao) and the subject of his latest work, Lin Hao (Zijiang Yang). How Is Your Fish Today won 4 international awards and was well received by critics, but was not commercially successful.\n\nCast\n Hui Rao as himself\n Zijiang Yang as Lin Hao\n Xiaolu Guo as Mimi\n Ning Hao as Hu Ning\n\nReception\nHow Is Your Fish Today? was consistently given good ratings by reviewers, but still remains fairly unpopular.\n\nCritics\nOn its release, How Is Your Fish Today? was received well by critics, who applauded the film as an impressive debut from Guo.\n\nAwards\n \"Grand Prix\" at the 2007 Créteil International Women's Film Festival\n Special Mention at the 2007 Fribourg International Film Festival\n Special Mention at the 2007 Pesaro International Film Festival of New Cinema\n NETPAC Special Mention at the 2007 Rotterdam International Film Festival\n\nNominations\n\n \"Tiger Award\" at the 2007 Rotterdam International Film Festival\n \"Grand Jury Prize\" in the World Cinema/Dramatic categories at the 2007 Sundance Film Festival\n\nReferences\n\nExternal links\nHOW IS YOUR FISH TODAY? site for Independent Lens on PBS \n \n \n \n\n2007 films\nChinese films\nMandarin-language films\nFilms directed by Xiaolu Guo",
"Total Loss is the second studio album by American musician How to Dress Well. It was released in September 2012 on Acephale Records in North America and Weird World Records in other regions. The track \"Cold Nites\", which was co-written and co-produced by Forest Swords, was released as a single.\n\nCritical reception\n\nAt Metacritic, which assigns a weighted average score out of 100 to reviews from mainstream critics, the album received an average score of 77% based on 25 reviews, indicating \"generally favorable reviews\".\n\nIt was listed 33rd on Stereogums list of top 50 albums of 2012. Pitchfork placed it at number 28 on its list of the top 50 albums of 2012.\n\nAccolades\n\nTrack listing\n\nCharts\n\nReferences\n\nExternal links\n \n\n2012 albums\nHow to Dress Well albums\nAlbums produced by Rodaidh McDonald"
] |
[
"Fugazi",
"In On the Kill Taker and Red Medicine (1993-1996)",
"What is the Kill Taker?",
"Fugazi recorded its third album In on the Kill Taker",
"What about the red medicine?",
"Fugazi began writing the material for Red Medicine in late 1994,",
"When was it released officially?",
"I don't know.",
"When did kill taker release?",
"fall of 1992",
"How well was it received?",
"however, the results were deemed unsatisfactory and the band re-recorded the album with Ted Niceley & Don Zientara."
] |
C_fcf066dfe02d42c19a7cebde5389bf6f_1
|
Who is Ted Niceley?
| 6 |
Who is Ted Niceley?
|
Fugazi
|
After the hardcore punk group Minor Threat dissolved, Ian MacKaye (vocals and guitar) was active with a few short-lived groups, most notably Embrace. MacKaye decided he wanted a project that was "like The Stooges with reggae", but was wary about forming another band after Embrace's break up. MacKaye recalled, "My interests were not necessarily to be in a band, but to be with people who wanted to play music with me." MacKaye recruited ex-Dag Nasty drummer Colin Sears and bass guitarist Joe Lally, and the trio began practicing together in September 1986. After a few months of rehearsals, Sears returned to Dag Nasty and was replaced by Brendan Canty (earlier of Rites of Spring). One day Canty's Rites of Spring bandmate Guy Picciotto dropped by during a practice session to see how his friend was getting along; he later admitted he secretly harbored the idea of joining the group. But Picciotto was disappointed that there seemed to be no place for him. After some uncertainty from Canty about what he wanted to do with his future, the trio regrouped and booked their first show at the Wilson Center in early September 1987. The group still needed a name, so MacKaye chose the word "fugazi" from Mark Baker's Nam, a compilation of stories of Vietnam War veterans, it there being a slang acronym for "Fucked Up, Got Ambushed, Zipped In [into a body bag]". The band began inviting Picciotto to practices. Inspired by use of a foil in hip hop, Picciotto sang backup vocals. After his band Happy Go Licky broke up, he became more involved with Fugazi. MacKaye eventually asked Picciotto to become a full member, which he accepted. With Picciotto playing guitar full-time, Fugazi made the transition into jamming and writing new material as a band as opposed to performing songs composed solely by MacKaye. In addition to working on new material, songs they had been performing live were refined, such as "Merchandise" and "Turnover", for inclusion on their first official full-length studio album. Released on April 19, 1990, through Dischord Records, Repeater did not initially reach the Billboard 200 charts or become a commercial success. However, the band spent most of 1990 and 1991 touring heavily behind Repeater, performing a total of 250 concerts between March 1990 and June 1991, routinely selling out 1,000-plus capacity venues throughout the world. By summer 1991, the album sold more than 300,000 copies, a large number for a label that relied on minimal promotion. While major labels began to court Fugazi, the band decided to stay with Dischord and refused the offers of those labels. Repeater ultimately went on to sell more than 1 million copies in the U.S. alone, and more than 2 million worldwide. The album was critically well received and featured an alternative rock sound that pre-dated significant releases such as Nirvana's Nevermind and Pearl Jam's Ten, which would unexpectedly go on to break the genre into the mainstream. For Fugazi's second studio-album Steady Diet of Nothing, released in July 1991, the band once again asked Ted Niceley to produce. Niceley had become a chef and had to reluctantly turn down the job, so the band members decided to produce the record themselves. After the success of Repeater and its subsequent world tour, Steady Diet was highly anticipated, six months prior to its release Dischord had pre-orders in excess of 160,000 for the album. Fugazi recorded its third album In on the Kill Taker in the fall of 1992 with Steve Albini in Chicago; however, the results were deemed unsatisfactory and the band re-recorded the album with Ted Niceley & Don Zientara. With the breakthrough of alternative rock in the early 1990s, In on the Kill Taker; released on June 30, 1993, became the group's first record to enter the Billboard album charts, received critical praise from Spin, TIME magazine and Rolling Stone, sold 180,000 copies in its first week of release and subsequently became the band's breakthrough album. By the In on the Kill Taker tour, the group began to sell-out large auditoriums and arenas, as well as receive more lucrative major label offers. During the band's sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet Ertegun met with the band backstage in an attempt to sign them. Ertegun offered the band "anything you want", their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined the offer. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down. Fugazi began writing the material for Red Medicine in late 1994, after touring in support of In on the Kill Taker. The band worked with engineer Don Zientara, but did not choose to work with producer Ted Niceley again. Fugazi opted to retreat from the in-your-face production values of In on the Kill Taker and instead worked to create an ambient sound which would display greater range and depth. To achieve this, the band handled production duties themselves, and in doing so, became more confident with in-studio experimentation. Red Medicine would take Fugazi a step further toward art rock. The band began an extensive worldwide tour in support of the album, playing a total of 172 shows between March 1995 and November 1996. CANNOTANSWER
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CANNOTANSWER
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Fugazi (; ) is an American post-hardcore band that formed in Washington, D.C. in 1986. The band consists of guitarists and vocalists Ian MacKaye and Guy Picciotto, bassist Joe Lally, and drummer Brendan Canty. They are noted for their style-transcending music, DIY ethical stance, manner of business practice, and contempt for the music industry.
Fugazi has performed numerous worldwide tours and produced six studio albums, a film and a comprehensive live series, gaining the band critical acclaim and success around the world. Highly influential on punk and alternative music, the band has been on an indefinite hiatus since 2003.
History
Formation and early years (1986–1989)
After the hardcore punk group Minor Threat dissolved, MacKaye (vocals and guitar) was active with a few short-lived groups, most notably Embrace. He decided he wanted a project that was "like The Stooges with reggae", but was wary about forming another band after Embrace's breakup. MacKaye recalled, "My interests were not necessarily to be in a band, but to be with people who wanted to play music with me."
MacKaye recruited ex-Dag Nasty drummer Colin Sears and bass guitarist Lally, and the trio began practicing together in September 1986. After a few months of rehearsals, Sears returned to Dag Nasty and was replaced by Canty (earlier of Rites of Spring). One day, Picciotto, Canty's Rites of Spring bandmate, dropped by during a practice session to see how his friend was getting along; he later admitted he secretly harbored the idea of joining the group. But Picciotto was disappointed that there seemed to be no place for him.
After some uncertainty from Canty about what he wanted to do with his future, the trio regrouped and booked their first show at the Wilson Center in early September 1987. The group still needed a name, so MacKaye chose the word "fugazi" from Mark Baker's Nam, a compilation of stories of Vietnam War veterans, it there being a slang acronym for "Fucked Up, Got Ambushed, Zipped In [into a body bag]".
The band began inviting Picciotto to practices. Inspired by use of a foil in hip hop, Picciotto sang backup vocals. After his band Happy Go Licky broke up, he became more involved with Fugazi. MacKaye eventually asked Picciotto to become a full member, and he accepted.
Fugazi EP & Margin Walker – 13 Songs (1988–1989)
Fugazi embarked on its first tour in January 1988. In June 1988 the band recorded its debut EP Fugazi with producer Ted Niceley and producer/engineer Don Zientara (who became a longtime collaborator), and shortly afterward embarked on an arduous tour of Europe.
At the tour's conclusion in December, the band recorded songs for its intended debut album. But the band was spent from touring and found the resulting sessions were unsatisfactory. The track list was cut down to an EP and released as Margin Walker the next year. Both EPs were eventually combined into the 13 Songs release in late 1989. Upon the band's return from Europe, Picciotto, unsatisfied with singing, began playing guitar too.
Repeater and Steady Diet of Nothing (1990–1992)
With Picciotto playing guitar full-time, Fugazi made the transition into jamming and writing new material as a band as opposed to performing songs composed solely by MacKaye. In addition to working on new material, songs they had been performing live were refined, such as "Merchandise" and "Turnover", for inclusion on their first official full-length studio album.
Released on April 19, 1990, through Dischord Records, Repeater did not initially reach the Billboard 200 charts or become a commercial success. But the band spent most of 1990 and 1991 touring heavily behind Repeater, performing 250 concerts between March 1990 and June 1991, routinely selling out 1,000-plus capacity venues throughout the world. By summer 1991, the album sold more than 300,000 copies, a large number for a label that relied on minimal promotion. Major labels began to court Fugazi, but the band stayed with Dischord. It was critically well received and featured an alternative rock sound that predated significant releases such as Nirvana's Nevermind and Pearl Jam's Ten, which unexpectedly broke the genre into the mainstream.
For Fugazi's second studio album, Steady Diet of Nothing, released in July 1991, the band again asked Ted Niceley to produce. Niceley had become a chef and had to reluctantly turn down the job, so the band decided to produce the record itself. After the success of Repeater and its subsequent world tour, Steady Diet was highly anticipated. Six months before its release Dischord had more than 160,000 pre-orders for the album.
In on the Kill Taker and Red Medicine (1993–1996)
Fugazi recorded its third album, In on the Kill Taker, in the fall of 1992 with Steve Albini in Chicago, but the results were deemed unsatisfactory and the band rerecorded the album with Niceley and Don Zientara. With the breakthrough of alternative rock in the early 1990s, In on the Kill Taker; released on June 30, 1993, became the group's first record to enter the Billboard album charts, receiving critical praise from Spin, Time and Rolling Stone, and becoming the band's breakthrough album.
By the In on the Kill Taker tour, the group began to sell out large auditoriums and arenas and receive more lucrative major label offers. During its sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet Ertegun met with the band backstage in an attempt to sign them. Ertegun offered the band "anything you want", their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down.
Fugazi began writing the material for Red Medicine in late 1994, after touring in support of In on the Kill Taker. The band worked with Zientara but chose not to work with Niceley again. Fugazi opted to retreat from the in-your-face production values of In on the Kill Taker and instead worked to create an ambient sound that displayed greater range and depth. To achieve this, the band handled production duties itself, and in doing so, became more confident with in-studio experimentation. Red Medicine took Fugazi a step further toward art rock. The band began an extensive worldwide tour in support of the album, playing 172 shows between March 1995 and November 1996.
End Hits and The Argument (1997–2002)
After the grueling worldwide tour the band completed in support of Red Medicine, Fugazi took an extended break and also began writing material for a follow-up release. By March 1997 Fugazi had once again returned to Inner Ear Studios with Zientara to begin recording what became End Hits, with the intention of taking a more relaxed approach to recording and a longer amount of time to experiment with different songs and techniques in the studio. The group ultimately spent 7 months recording the album. Due to the title, rumors began circulating at the time that it was to be their last release. Released on April 28, 1998, the album was commercially successful and marked one of the band's highest debuts yet on the Billboard charts. Critical reaction to End Hits was mixed. Many critics praised its heavier tracks, while others questioned the inclusion of the group's longer, more experimental songs.
Fugazi began work on The Argument in 1999. This process saw the group taking more time than usual to write and demo material. Each member brought his own riffs and ideas to the band, jammed on them, and then began piecing the songs together into various configurations before deciding on the final versions. The album's recording sessions took place between January and April 2001 at Inner Ear Studios and Dischord House in Arlington, Virginia. The band once again worked with Zientara. During the recording process a considerable amount of time was spent finalizing each song's production, in particular the album's drum tracks, in an effort to give it a unique feel. Canty told Modern Drummer, "We recorded them all very differently in terms of the drum sounds. We used a lot of different cymbals, snares, and ways of miking."
The Argument was released by Dischord Records on October 16, 2001, along with the EP Furniture + 2. Arion Berger of Rolling Stone called the album "bracing" and "intellectual" and Chris True of AllMusic "spine-tingling and ear-shattering all at once", writing, "the band has raised the bar for themselves and others once again." He also wrote that the album had "touched on strange new territory". By this point Fugazi was on tour less, due in large part to other professional and personal commitments. It performed only 32 shows in 2001 and 2002.
Indefinite hiatus and reunion rumours (2003–present)
Fugazi went on what it has called an "indefinite hiatus" after the conclusion of its 2002 UK tour following three sold-out nights at the London Forum on November 2–4, 2002. The hiatus was brought on by the band members' insistence on spending more time with their families and pursuing other professional projects.
Since Fugazi went on hiatus in 2003, rumors began circulating about a reunion, with some insinuating that the band may get back together to headline the Coachella Festival. While the band has confirmed that it has been offered large sums of money to reunite and headline festivals, such as Coachella, it has so far declined the offers.
In March 2011, MacKaye reiterated that Fugazi has "been offered insane amounts of money to play reunions, but it's not going to be money that brings us back together, we would only play music together if we wanted to play music together and time allowed it".
In November 2011, when asked by The A.V. Club about the possibility of a reunion and a follow up to 2001's The Argument, Lally said, "The Argument was a great record that we should try and top. It'll take some time to come together and everything. To do that, we'd have to, the way the four of us are, we would take quite some time, I think, reassociating ourselves musically, and then just letting it come about naturally, because it would have to be a natural thing. So we'll just see."
In August 2014, Dischord announced an official release for First Demo, an album featuring 11 demo songs recorded in January 1988. The announcement included a preview of the demo for the Fugazi track "Merchandise". The album was released on November 18, 2014.
MacKaye insisted in a 2017 interview that Fugazi is not, in fact, broken up. While he admits any future public performance will have to contend with various confounding factors, the members have occasionally played music together, privately, since their 2003 hiatus. On March 21, 2018, in an interview on Vish Khanna's Kreative Kontrol podcast, Lally confirmed the band's irregular practice of casual get-togethers. He stated: "Yeah, when we're all in D.C., we totally hang out together and talk and spend a lot of time laughing. We have a great time together, go out to dinner, and we'll play some music together." Lally also stated that additional public performances or tours were unlikely: "There's so much to try to look after to allow Fugazi to do anything, that we do not have the time to give it the respect that it deserves. So unfortunately, it is where it is."
On February 13, 2019, Louder Sound asked Lally and Canty about the possibility of Fugazi returning, Lally responded "You never want to say never about anything, because how can you say that about the future? But there does seem to be a lack of time to allow it to happen, because the four of us would have to spend a lot of time together to figure out, 'Should we play old songs?' 'Who are we now?' 'What is it now?' We are not the kind of band to get together and just rehearse two hours of old songs to go out and play it, rake in the dough and come home." Canty added, "If we got back together it would have to be from the spirit of creativity. It would be different if we got back together."
Side projects and related work
In the hiatus, the members undertook side projects, with MacKaye forming the duo The Evens with drummer and singer Amy Farina (formerly of the Warmers).
In 2004, MacKaye produced the DC EP for Red Hot Chili Peppers guitarist John Frusciante, which also featured Jerry Busher.
Canty has been doing a variety of soundtrack scores and playing bass in the trio Garland Of Hours alongside frequent Fugazi guest contributors Jerry Busher and Amy Domingues, and has played bass live with Mary Timony. Canty also appears on Bob Mould's 2005 album Body of Song and on Mould's 2008 album District Line, and has toured with Mould, appearing in the live DVD Circle of Friends. He is currently working in the Burn to Shine DVD series which is being released by Trixie DVD. Now, he is playing in Deathfix alongside Devin Ocampo (Medications, Faraquet, Smart Went Crazy, Beauty Pill), Rich Morel (Bob Mould, Blow Off) and Mark Cisneros (Medications, The Make-Up). They will release their album in February 2013 on Dischord Records.
Lally has released three solo albums, There to Here (2006), Nothing Is Underrated (2007), and Why Should I Get Used To It (2011). He has also appeared on fellow DC post-punkers Decahedron's debut album Disconnection_Imminent, as well as on a project with Red Hot Chili Peppers guitarists John Frusciante and Josh Klinghoffer, known as Ataxia. The group has recorded two albums, Automatic Writing (2004) and AW II (2007).
Picciotto currently works as a record producer most notably with Blonde Redhead and The Blood Brothers, and he has performed alongside members of The Ex at the Jazz festival in Wels, Austria. Picciotto also contributed guitar on two Vic Chesnutt albums, 2007's "North Star Deserter and 2009's At the Cut (co-producing the latter), for Constellation Records and performed live with Chesnutt and members of Thee Silver Mount Zion Memorial Orchestra and The Quavers in Jem Cohen's program entitled, "Evening's Civil Twilight in Empires of Tin at the Vienna International Film Festival (Viennale) in 2007 (a DVD of the program was released in 2009). Picciotto played guitar on Chesnutt's Fall/Winter 2009 North American Tour. He has a daughter with musician Kathi Wilcox from the band Bikini Kill and The Frumpies.
In July 2011, Minneapolis based record label Doomtree released an album of mash-ups between Fugazi and east coast veteran rap crew the Wu-Tang Clan. The album is titled 13 Chambers, group name Wugazi. However, Fugazi itself did not have any involvement with the release. Bassist Joe Lally was asked about his thoughts on the Wugazi release, and stated "I think they could've found better Fugazi pieces to sample with Wu-Tang guys rapping on it. I mean, it's enjoyable, and I do appreciate it for the fact that somebody enjoys our music enough to bring it into that. But, you know, I don't know. I guess I should shut up, because I suppose I'm about to run into these people at the Fun Fun Fun Fest festival and talk to them. But I'm afraid that is my opinion on it. It's like, get better samples of our stuff, do better work."
In October 2012, Chris Lawhorn released Fugazi Edits. The album includes 22 instrumental tracks, which sample 100 songs from Fugazi's discography. As in other cases, the band had no involvement in the production. But, the album was authorized for release by MacKaye, with the proceeds going to charity.
In 2016, Canty and Lally joined with guitarist Anthony Pirog to form the Messthetics, Canty and Lally's first project together since Fugazi's hiatus.
In March 2018, the Messthetics released their self-titled debut album and embarked upon a tour of the US and Japan. The band toured further and released a second album entitled Anthropocosmic Nest in 2019.
In 2018, Ian MacKaye, Amy Farina and Joe Lally debuted a new band. In February 2020, it was announced that the band, now called Coriky, would release their first album on March 27, 2020. The debut single, "Clean Kill", was released on February 11, 2020. The band previewed their album at a free show in D.C.'s St. Stephen and the Incarnation Episcopal Church on February 22, 2020. Due to the COVID-19 pandemic, the release of Coriky was delayed to June 12, 2020, in part to accommodate independent record stores closed due to the pandemic. Upon release the record was favorable reviewed in a few publications; often drawing comparisons and contrasts with MacKaye and Farina's other band The Evens, as well as Fugazi.
Live performances
Between 1987 and 2003, Fugazi played over 1000 concerts in all 50 US states and all over the world. Over 800 of these shows were recorded by the band's sound engineers. Beginning in 2004 and continuing into 2005, Fugazi launched a 30 CD Live Series that featured concerts from various points in their career, which were made available for sale via Dischord Records. Continuing with the live series concept and after several years of development on December 1, 2011, Fugazi launched a comprehensive Live Series website through Dischord Records that features 750 recordings available for download at the suggested price of $5 each or a "pay what you want" sliding scale option for each download between $1–100 with the goal of eventually making all 800 of the shows that have been recorded available for purchase. For $500 fans can also purchase an "All Access" privilege which will include access to any future concerts and downloads added to the site.
While each concert was professionally mastered, the recordings capture everything that happened onstage and for preservation's sake the band chose not to edit anything out, singer/guitarist Guy Picciotto explained to the New York Times, "We liked this idea of, 'Let's just let it be everything,' ... There doesn't have to be the idea that this is the great, golden document. It's all there, and it's not cleaned up. You get what you get." The sound quality also varies as the earliest recordings were made to cassettes, then eventually digital formats such as DAT, CD-R and ultimately hard-drives were used. Each concert page also includes flyers, photographs and ticket stubs. As a career-spanning archival project, the Fugazi Live Series has few equals, putting the band in the company of acts like the Grateful Dead, Phish and Pearl Jam, three notable examples of other artists with such a large volume of concerts available for purchase.
Musical style
Fugazi's style has been described as post-hardcore, art punk, alternative rock, and experimental rock. Fugazi's music was an intentional departure from that of the hardcore punk bands the members had played in previously. Fugazi combined punk with funk and reggae beats, irregular stop-start song structures, and heavy riffs inspired by popular rock bands such as Led Zeppelin and Queen, bands that the punk community of the time largely disdained.
Picciotto became the group's second guitarist when he realized MacKaye's typically chunky, low-end riffs and Lally's dub-influenced basslines allowed him to focus on high-pitched parts. In both vocal and guitar roles, Picciotto assumed the role of a foil to MacKaye; employing a Rickenbacker guitar for its scratchy single-coil sound in order to "cut through MacKaye's chunky chording like a laser beam." Picciotto's assumption of guitar duties allowed all four members of the band to jam together and write songs that way, where previously they had played songs largely as MacKaye had arranged them. When writing songs, the band often rearranges them with different structures and different singers. Spin has listed MacKaye and Picciotto together at No. 86 on their list of the 100 Greatest Guitarists of All Time for their unique and interlocking guitar style in Fugazi.
Generally, MacKaye's lyrics and singing are more direct and anthemic (MacKaye admits that he loves audience sing-alongs and writes songs with shout-able slogans), while Picciotto usually favors a more abstract, oblique approach. Lally has contributed vocals to a few songs as well, in which he sings in a more relaxed, quiet style as opposed to MacKaye and Picciotto, whose lyrics and vocals often feature strong emotional intensity. Later, Fugazi more fully integrated elements of punk rock, hardcore, soul and noise with an inventively syncopated rhythm section. Notable is MacKaye and Picciotto's inventive, interlocking guitar playing, which often defies the traditional notion of "lead" and "rhythm" guitars. They often feature unusual and dissonant chords and progressions filtered through a hardcore punk lens.
Each of Fugazi's albums since Repeater have featured an instrumental. By the time of 1995's Red Medicine bassist Joe Lally also began contributing vocals to the band and the group was implementing many of their broader influences into the overall sound. Critics Ian McCaleb and Ira Robbins declared that Fugazi's music combined an "unprecedented dynamic range ... and previously unimagined elements" such as "clattering musique concrète ... piano and sound effects ... murky dub and lancing clarinet" and "loose-limbed jammy funk ... into an ambitious, experimental format that raises more stylistic questions than it answers."
Influences
When questioned by Guitar World in 2002 about the band's influences, singer/guitarist Ian MacKaye responded, "Too many to mention. And not just from the last few years. Some of them predate us by decades, and most of them wouldn't be punk. I would hope any musician would be inspired by a lot of different kinds of music." In a 2004 interview with Indonesian magazine Deathrockstar, Picciotto named "D.C. groups" such as Bad Brains ("who inspired all of us so much at the beginning"), the Faith and Void as influences, in addition to Minutemen, Black Flag, Sonic Youth, the Ex and the Beatles, the latter of which all the members "share[d] a major love for". Despite this, he similarly conceded that "[i]ts [sic] impossible to narrow it down to one band or record because we didn't just crib from one blueprint, we were grabbing ideas from all over the place and then filtering them through our own limited and personally shaped skills."
Business practices
On their first tours, Fugazi worked out its DIY ethic by trial and error. Their decisions were partly motivated by pragmatic considerations that were essentially a punk rock version of simple living: for example, selling merchandise on tour would require a full-time merchandise salesperson who would require lodging, food, and other costs, so Fugazi decided to simplify their touring by not selling merchandise. The band was also motivated by moral or ethical considerations: for example, Fugazi's members regarded pricey admission for rock concerts as tantamount to price gouging a performer's most loyal fans. Fugazi's inexpensive target goal of $5 admission was spawned during a conversation on an early tour when the band's members were debating the lowest profitable admission price. Everett True has said that MacKaye and Fugazi "had a mind-set that believed that any involvement with the system was corrupting and that you should create completely alternative structures outside".
In later years, Fugazi was unable to negotiate ticket prices below about $10–$15 total. However, it never saw the $5 rule as inviolable, instead aiming to charge a price that was both affordable and profitable. Unlike some similar, independent rock contemporaries, Fugazi's performances and tours were always profitable, due to the group's popularity, low business overhead costs, and MacKaye's keen sense of audience response in given regions. Many times the band performed sold-out shows multiple consecutive nights at the same venue.
Fugazi's early tours earned it a strong word-of-mouth reputation, both for its powerful performances, and also for the band's eagerness to play in unusual venues. The group sought out alternatives to traditional rock clubs partly to relieve the boredom of touring, but also hoping to show fans that there are other options to traditional ways of doing things. As Picciotto said, "You find the Elks Lodge, you find the guy who's got a space in the back of his pizzeria, you find the guy who has a gallery. Kids will do that stuff because they want to make stuff happen."
The group (MacKaye in particular) also made a point of discouraging violent, unwanted slam dancing and fistfights, which it saw as relics of the late 1970s/early 1980s hardcore punk era. Michael Azerrad quotes Mackaye, "See, [slam dancers] have one form of communication: violence ... So to disorient them, you don't give them violence. I'd say, 'Excuse me, sir ...'- I mean, it freaks them out – 'Excuse me, sir, would you please cut that crap out?'" Azerrad writes, "[MacKaye's] admonitions seemed preachy to some. And by and large, people would obey – it wasn't cool to disrespect Ian MacKaye." Occasionally, Fugazi would have an unrepentant slam-dancer escorted from the concert, and give them an envelope containing a $5 refund (the group kept a stock of such envelopes in their tour van for these occasions).
During the summer of 1990 MacKaye formed the corporation Lunar Atrocities Ltd. in order to shield his own and his bandmates' personal assets from the threat of lawsuits. As MacKaye's financial advisor, Seth Martin, explained to the Washington Post in a 1993 interview: "protection from liability is the main reason to form a corporation, and for these guys it makes sense. If someone got hurt stage-diving and decided to sue, it would be harder to go after their personal assets."
Influence and legacy
Fugazi's music and ethics have been immensely influential on punk and alternative music throughout the years, and has earned the band praise from many notable musicians as well. Sublime "thanked" the band by namedropping them on their debut album. At the Drive-In called the band an influence on their own music, as did other notable post-hardcore bands such as Refused, Quicksand, Drive Like Jehu, Mclusky, and Cursive. John Frusciante named them an influence on Red Hot Chili Peppers' Californication and on his solo album The Will to Death. Nirvana cited the band as an influence, and Kurt Cobain - who was friends with the members of Fugazi - was even spotted in a popular photo of the band with the word "Fugazi" misspelt on both shoes. Eddie Vedder of Pearl Jam remarked that witnessing the band live "was a life-changing experience" for him. Reportedly a huge fan, Elliott Smith was "super-obsessed" with the band and later admitted that his former band Heatmiser was "trying to be Fugazi". The Smiths guitarist Johnny Marr offered the band praise, and called MacKaye one of his favorite guitarists. Towards the end of his life, Joe Strummer, lead vocalist of The Clash, recognized Fugazi as the band that best exemplified "the spirit of punk" in a 2000 Rolling Stone interview, besides offering them accolades on several other occasions. In 1993, Joey Ramone of The Ramones picked the band as a favorite, labeling them a "great social conscience".
Graham Coxon of Blur recalls his introduction to bands such as Fugazi (and the Picciotto-led Rites of Spring) in the mid 90s as being one of the most musically significant moments of his life: "They used the guitar in an incredible way; making quite restrained noisy music, which I'd never heard English bands doing." Jim Adkins of Jimmy Eat World named both MacKaye and Picciotto as an influence on his guitar playing as they made him "more open to the ideas behind guitar playing, as opposed to the technical difficulty of it.". Daniel Kessler of Interpol was also influenced by the band in his guitar-playing, as was Ben Weinman of The Dillinger Escape Plan and Colin Frangicetto of Circa Survive. Tim Commerford of Rage Against the Machine found the band's music on Repeater revelatory, as did Steve Holmes of American Football. Tom DeLonge of Blink-182 called the band a big influence as they "stood for something and never varied from that path." "Fugazi was probably my biggest influence as far as wanting to start a band", Modest Mouse founding member Jeremiah Green admitted, "It was really great music and just sounded like something I could possibly do." Gareth Liddiard, lead vocalist and guitarist of both the Drones and Tropical Fuck Storm, named Fugazi (amongst many others) as an influence on his guitar-playing, and praised the band's live performances. When asked to name some of his favorite records or discographies, Brian Cook of Botch (and later Russian Circles) included the band's entire discography amongst others. Gogol Bordello's Eugene Hutz called the band's debut EP "probably the best I ever heard. It's so together and everything sits in the right place." Jeff Rosenstock not only called the band a big influence on his music, but also on his strict DIY business practices & ethics. Sunny Day Real Estate cited the band as an influence for similar reasons.
In addition, the band was a formative influence on Tool bassist Justin Chancellor, Jack White, Daniel Johns of Silverchair, Carrie Brownstein of Sleater-Kinney, Sara Lund of Unwound, Iceage, ...And You Will Know Us by the Trail of Dead, Dylan Baldi of Cloud Nothings, Arcade Fire lead singer Win Butler, Travis Morrison of The Dismemberment Plan, Efrim Menuck of Godspeed You! Black Emperor, Alison Mosshart of The Kills, Brand New guitarist Jesse Lacey, Converge lead vocalist Jacob Bannon, Coalesce, Tad Kubler of The Hold Steady, Ben Lee, Patterson Hood of Drive-By Truckers, Explosions in the Sky, Kele Okereke of Bloc Party, Trevor de Brauw of Pelican, Ted Leo, Matty Healy of The 1975, Mary Timony, Hayley Williams of Paramore, Justin Vernon of Bon Iver, Chester Bennington of Linkin Park and Lorde.
Members
Current
Ian MacKaye – vocals, guitar (1986–2003)
Joe Lally – bass guitar, vocals (1986–2003)
Brendan Canty – drums (1987–2003)
Guy Picciotto – vocals, guitar (1988/1989–2003)
Former
Colin Sears – drums (1986)
Touring musicians
Jerry Busher – additional drums, trumpet (1998–2002)
Timeline
Discography
Studio albums
Notes
References
External links
Fugazi's page at Dischord
Southern distribution page
[ Fugazi's page at Allmusic]
Rare recorded live Fugazi show, one of the last ever at Austin's Liberty Lunch venue in 1990.
Alternative rock groups from Washington, D.C.
American post-hardcore musical groups
Anti-corporate activism
American art rock groups
Dischord Records artists
Indie rock musical groups from Washington, D.C.
Musical groups established in 1987
Musical quartets
Punk rock groups from Washington, D.C.
American emo musical groups
Musical groups disestablished in 2003
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[
"(I) Don't Got a Place is an EP by American post-hardcore band Girls Against Boys, released on August 29, 1994 by Touch and Go Records.\n\nTrack listing\n\nPersonnel \nAdapted from the (I) Don't Got a Place liner notes.\n Girls Against Boys\n Alexis Fleisig – drums\n Eli Janney – sampler, bass guitar, backing vocals\n Scott McCloud – lead vocals, guitar\n Johnny Temple – bass guitar\nProduction and additional personnel\n Ted Niceley – production\n\nRelease history\n\nReferences\n\nExternal links \n \n\n1994 EPs\nGirls Against Boys albums\nTouch and Go Records EPs\nAlbums produced by Ted Niceley",
"Sexy Sam is an EP by American post-hardcore band Girls Against Boys, released on May 16, 1994 by Touch and Go Records.\n\nTrack listing\n\nPersonnel \nAdapted from the Sexy Sam liner notes.\n\n Girls Against Boys\n Alexis Fleisig – drums\n Eli Janney – sampler, bass guitar, backing vocals\n Scott McCloud – lead vocals, guitar\n Johnny Temple – bass guitar\n\nProduction and additional personnel\n John Loder – engineering\n Ted Niceley – production\n\nRelease history\n\nReferences\n\nExternal links \n \n\n1994 EPs\nGirls Against Boys albums\nTouch and Go Records EPs\nAlbums produced by Ted Niceley"
] |
[
"The Simpsons Movie",
"Marketing"
] |
C_d89de81934a1413f801b02acd1dedcf4_1
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how much did marketing cost?
| 1 |
How much did marketing cost for The Simpsons Movie?
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The Simpsons Movie
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The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion. Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away. McFarlane Toys released a line of action figures based on the film, EA Games released The Simpsons Game, to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system. CANNOTANSWER
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The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million.
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The Simpsons Movie is a 2007 American animated comedy film based on the long-running animated sitcom The Simpsons. The film was directed by the show's supervising director David Silverman and stars the show's regular cast of Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Harry Shearer, Tress MacNeille, Pamela Hayden, Karl Wiedergott, Marcia Wallace, Maggie Roswell, Russi Taylor, Joe Mantegna, and Albert Brooks. The film follows Homer Simpson, who irresponsibly pollutes the lake in Springfield, causing the Environmental Protection Agency (EPA) to imprison the town under a giant glass dome. After he and his family escape, they ultimately abandon Homer for his selfishness and return to Springfield to prevent the town’s demolition by Russ Cargill, head of the EPA. Homer works to redeem his folly by returning to Springfield himself in an effort to save it.
Although previous attempts to create a Simpsons film had been made, they failed due to the lack of lengthy script and production crew members. Eventually in 2001, producers James L. Brooks, Matt Groening, Al Jean, Mike Scully and Richard Sakai began development of the film and a writing team consisting of Brooks, Groening, Jean, Scully, Ian Maxtone-Graham, George Meyer, David Mirkin, Mike Reiss, Matt Selman, John Swartzwelder and Jon Vitti was assembled. They conceived numerous plot ideas, with Groening's being the one adapted. The script was rewritten over a hundred times, also continuing after work on the animation began in 2006. Consequently, hours of finished material was cut from the final release, including cameo roles from Erin Brockovich, Minnie Driver, Isla Fisher, and Edward Norton (as well as Kelsey Grammer, who would have reprised his role as Sideshow Bob). Tom Hanks and the members of Green Day voice their own animated counterparts in the final cut of the film, while Albert Brooks, a frequent guest performer on the series, provides the voice of its main antagonist, Russ Cargill.
Tie-in promotions were made with several companies to promote the film's release, including Burger King and 7-Eleven, the latter of which transformed selected stores into Kwik-E-Marts. The film premiered in Springfield, Vermont on July 21, 2007 and was released theatrically six days later by 20th Century Fox across the United States. The Simpsons Movie received positive reviews and grossed $536.4 million worldwide, became the eighth highest-grossing film of 2007, the second highest-grossing traditionally animated film (behind Walt Disney Animation Studios' The Lion King), and the highest-ever grossing film based on an animated television series. The film received praise for its humor, emotional weight, and callbacks to early seasons. The film was nominated for numerous awards, including a Golden Globe Award for Best Animated Feature Film at the 65th Golden Globe Awards.
Plot
One summer on Lake Springfield, Green Day, after finishing a concert, try to engage the audience in a discussion about the environment, angering the audience into throwing garbage at them, causing the pollution in the lake to erode and sink the band's barge, drowning them. During their memorial at Reverend Lovejoy's church, Grampa Simpson has a spiritual experience and frantically prophesies that a disaster will befall Springfield, but only Marge takes it seriously. Concerned about the terrible state of the environment, Lisa and her new love interest, Colin, hold a seminar where they successfully convince Mayor Quimby to tell the town to clean up the lake. Meanwhile, after a series of dares, including one with Bart skateboarding across Springfield naked and getting in trouble with Chief Wiggum, Homer and Bart go to Krusty Burger, where Homer adopts a pig that Krusty the Clown was about to have killed. Marge, identifying the pig as a part of Grampa's prophecy, warns Homer to get rid of it, but Homer refuses. Homer's fawning over the pig makes Bart, now fed up with his father's carelessness, look to their neighbor, Ned Flanders, as a father figure.
Homer stores the pig's feces in an overflowing silo, disgusting Marge. Homer attempts to dispose of it safely at Marge's request, but his friend Lenny calls him to inform him about Lard Lad Donuts giving away all their donuts for free due to failing a health inspection. In a rush to get to the giveaway, Homer dumps the silo in the lake, critically polluting it. Moments later, a squirrel stumbles into it and becomes severely mutated. While bonding on a hike, Bart and Flanders notice the squirrel, which the EPA capture. Russ Cargill, head of the EPA, informs President Arnold Schwarzenegger on Springfield's pollution crisis and presents five solutions. Without reading them, the president randomly picks the third solution: imprisoning Springfield under a giant glass dome. When Homer's silo is discovered, the townspeople, including Grampa, the school staff, the Simpsons' friends and neighbors, except for the Flanders and Colin, form an angry mob, ransack their house and attempt to lynch them. The family escapes through a sinkhole that Homer hid using Maggie's sandbox, which destroys the house soon after. The family flees to Alaska using a truck that Lisa helps Homer win at a contest, where they try to restart their life.
Within ninety three days, Springfield completely exhausts its daily supplies and the townspeople go crazy as they attempt to escape from the dome using brute force to destroy it, causing cracks to form. Cargill, not wanting news of what he has done to spread around the world, plots to destroy Springfield by tricking the president into choosing a solution that involves its demolition. The Simpsons see a television advertisement for a new Grand Canyon on the site of Springfield. Realizing that their hometown is in danger, the family decide to save it except for Homer, who objects to helping the people who had turned on them. The family soon abandons Homer for his selfishness, with Marge leaving behind a recorded video about it, causing him to run off in search of them. The family are captured by the EPA and placed back inside the dome. After an encounter with a mysterious Inuit shaman who saves him from a polar bear, Homer has an epiphany about saving the town in order to save himself.
Homer returns home and learns about his family's capture as a helicopter lowers a time bomb suspended by a rope through a hole at the top of the dome. Homer enters the dome and descends the rope, knocking the escaping townspeople and the bomb off, inadvertently shortening its countdown, much to the townspeople's anger. After reuniting and reconciling with Bart, they use a motorcycle to travel up the side of the dome and throw the bomb through the hole seconds before it detonates, shattering the dome and freeing the town. Homer and Bart land safely at Springfield Gorge where a shotgun-wielding Cargill confronts them and attempts to shoot them for foiling his plan. But before he can do so, Maggie knocks him out by dropping a large rock on his head. The townspeople praise and forgive Homer, who reconciles with Marge as Springfield begins restoration.
Cast
Dan Castellaneta as Homer Simpson, Abe Simpson, Krusty the Clown, Groundskeeper Willie, Mayor Quimby, Sideshow Mel, Mr. Teeny, EPA Official, Itchy, Barney Gumble, Stage Manager, Blue Haired Lawyer, Multi-Eyed Squirrel, Hans Moleman, Panicky Man, Kissing Cop, Bear, Boy on Phone, NSA Worker, Officer, Rich Texan, Santa's Little Helper, and Squeaky-Voiced Teen
Julie Kavner as Marge Simpson, Selma Bouvier, and Patty Bouvier
Nancy Cartwright as Bart Simpson, Ralph Wiggum, Todd Flanders, Nelson Muntz, Maggie Simpson, TV Daughter, Woman on Phone, and Kearney Zzyzwicz
Yeardley Smith as Lisa Simpson
Hank Azaria as Moe Szyslak, Chief Wiggum, Cletus Spuckler, Professor Frink, Apu Nahasapeemapetilon, Lou, Comic Book Guy, Captain McCallister, Bumblebee Man, Dr. Nick, Carl, Male EPA Worker, Dome Depot Announcer, Kissing Cop, Carnival Barker, Gas Station Clerk, Drederick Tatum, EPA Passenger, Robot, and Wiseguy
Harry Shearer as Mr. Burns, Smithers, Ned Flanders, Reverend Lovejoy, Lenny, President Arnold Schwarzenegger, Seymour Skinner, Kent Brockman, Dr. Hibbert, Otto Mann, Scratchy, Skull, Toll Booth Operator, and Guard
Pamela Hayden as Milhouse Van Houten, Rod Flanders, and Jimbo Jones
Tress MacNeille as Medicine Woman, Agnes Skinner, Crazy Cat Lady, Colin, Cookie Kwan, Sweet Old Lady, Mrs. Muntz, Plopper, Female EPA Worker, Lindsey Neagle, GPS Voice, TV Son, Girl on Phone, and Dolph Starbeam
Albert Brooks (as "A. Brooks") as Russ Cargill
Karl Wiedergott as EPA Officer and Man
Marcia Wallace as Edna Krabappel (scenes deleted)
Russi Taylor as Martin Prince
Maggie Roswell as Helen Lovejoy and Miss Hoover
Phil Rosenthal as TV Dad
Billie Joe Armstrong, Frank Edwin Wright III, and Michael Pritchard as Green Day (themselves)
Joe Mantegna as Fat Tony
Tom Hanks as himself
Additional voices are done by Castellaneta, Kavner, Cartwright, Smith, Azaria, Shearer, Hayden, MacNeille, Wiedergott, Wallace, Taylor, and Roswell
Production
Development
The production staff had considered a film adaptation of The Simpsons since early in the series. The show's creator, Matt Groening, felt a feature-length film would allow them to increase the show's scale and animate sequences too complex for the TV series. He intended the film to be made after the show ended, "but that [...] was undone by good ratings". There were attempts to adapt the fourth season episode "Kamp Krusty" into a film, but difficulties were encountered in expanding the episode to feature-length. For a long time the project was held up. There was difficulty finding a story that was sufficient for a film, and the crew did not have enough time to complete such a project, as they already worked full-time on the show. Groening also expressed a wish to make Simpstasia, a parody of Fantasia; it was never produced, partly because it would have been too difficult to write a feature-length script. At another point, it was briefly suggested to do an anthology-style Treehouse of Horror film, but such suggestion was never pursued. Recurring guest performer Phil Hartman had wished to make a live-action film based on his character Troy McClure; several of the show's staff expressed a desire to help create it, and Josh Weinstein proposed to use the plot of the 1996 episode "A Fish Called Selma" for the film, but the project was cancelled following Hartman's death in 1998.
The voice cast was signed on to do the film in 2001, and work then began on the script. The producers were initially worried that creating a film would have a negative effect on the series, as they did not have enough crew to focus their attention on both projects. As the series progressed, additional writers and animators were hired so that both the show and the film could be produced at the same time. Groening and James L. Brooks invited back Mike Scully and Al Jean (who continued to work as showrunner on the television series) to produce the film with them. They then signed David Silverman (who, in anticipation of the project, had quit his job at Pixar) to direct the film. The "strongest possible" writing team was assembled, with many of the writers from the show's early seasons being chosen. David Mirkin, Mike Reiss, George Meyer, John Swartzwelder, and Jon Vitti were selected. Ian Maxtone-Graham and Matt Selman joined later, and Brooks, Groening, Scully, and Jean also wrote parts of the script. Sam Simon did not return having left the show over creative differences in 1993. Former writer Conan O'Brien expressed interest in working with the Simpsons staff again, although he later joked that "I worry that the Simpsons-writing portion of my brain has been destroyed after 14 years of talking to Lindsay Lohan and that guy from One Tree Hill, so maybe it's all for the best." The same went for director Brad Bird who said he had "entertained fantasies of asking if [he] could work on the movie", but did not have enough time due to work on Ratatouille. The producers arranged a deal with Fox that would allow them to abandon production of the film at any point if they felt the script was unsatisfactory.
Work continued on the screenplay from late 2003 onwards, taking place in the small bungalow where Groening first pitched The Simpsons in 1987. The writers spent six months discussing a plot, and each of them offered sketchy ideas. On their first brainstorming session, Scully suggested a story in which Steven Spielberg (intended to be voiced by Spielberg himself) would try to blow up Springfield so he can shoot a film with Tom Hanks (who ultimately made a guest appearance voicing himself in the finished film). It was also on this same reunion that Groening introduced the idea of Homer adopting a pet pig, inspired by a pig-waste management story he had read in the news. Jean suggested the family rescue manatees, which became the 2005 episode "The Bonfire of the Manatees", and there was also a notion similar to that of The Truman Show where the characters discovered their lives were a TV show. Groening rejected this, as he felt that the Simpsons should "never become aware of themselves as celebrities", but the idea was later used in the video game The Simpsons Game. Groening read about a town that had to get rid of pig feces in their water supply, which inspired the plot of the film. The decision for Flanders to have an important role also came early on, as Jean wished to see Bart wonder what his life would be like if Flanders were his father. Hank Scorpio, a character from the 1996 episode "You Only Move Twice", was originally meant to return as the main antagonist, but the staff dropped the idea and created Russ Cargill instead. Having eventually decided on the basic outline of the plot for the film, the writers then separated it into seven sections. Jean, Scully, Reiss, Swartzwelder, Vitti, Mirkin, and Meyer wrote 25 pages each, and the group met one month later to merge the seven sections into one "very rough draft". The film's script was written in the same way as the television series: the writers sitting around a table, pitching ideas, and trying to make each other laugh. The script went through over 100 revisions, and at one point the film was a musical. However, the songs were continually being shortened and the idea was dropped. Groening described his desire to also make the film dramatically stronger than a TV episode, saying that he wanted to "give you something that you haven't seen before".
Animation
Animation for the film began in January 2006, with the Itchy & Scratchy short being the first scene to be storyboarded. Groening rejected making either a live-action or a CGI film, calling the film's animation "deliberately imperfect" and "a tribute to the art of hand-drawn animation". The film was produced in a widescreen 2.40:1 aspect ratio, to distinguish it from the look of the television series, and colored with the largest palette the animators ever had available to them. A lot of the animation was produced using Wacom Cintiq tablets, which allowed images to be drawn directly onto a computer monitor to facilitate production. Animation production work was divided among four studios around the world: Film Roman in Burbank, California, Rough Draft Studios in Glendale, California, and AKOM and Rough Draft's division in Seoul, South Korea. As with the television series, the storyboarding, characters, background layout, and animatic parts of production, were done in America. The overseas studios completed the inbetweening, digital ink and paint, and rendered the animation to tape before being shipped back to the United States.
Director David Silverman said that unlike the TV series where "you [have] to pick and choose", the film gave them the opportunity to "lavish that attention [on] every single scene". The characters have shadows, unlike in the show. Silverman and the animators looked to films such as The Incredibles, The Triplets of Belleville, and Bad Day at Black Rock for inspiration, as they were "a great education in staging because of how the characters are placed". They also looked for ideas for a dream sequence, in Disney films such as Dumbo and the Pluto cartoon Pluto's Judgment Day and for crowd scenes in It's a Mad, Mad, Mad, Mad World. Silverman looked at some of the Simpsons episodes he had directed, primarily his two favorites, "Homie the Clown" and "Three Men and a Comic Book". Mike B. Anderson, Lauren MacMullan, Rich Moore and Steven Dean Moore each directed the animation for around a quarter of the film under Silverman's supervision, with numerous other animators working on scenes.
Casting
For inspiration for the crowd scenes in the film, the production staff referenced a poster featuring more than 320 Simpsons characters. Groening said they tried to include every single character in the film, with 98 having speaking parts, and most members of the crowds being previously established characters instead of generic people. The series' regular voice actors: Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria and Harry Shearer, as well as semi-regular performers Tress MacNeille, Pamela Hayden, Marcia Wallace, Maggie Roswell, Russi Taylor and Karl Wiedergott, reprised their roles. Joe Mantegna returned as Fat Tony, while Albert Brooks, who supplied many guest voices in episodes, was cast as the main antagonist Russ Cargill after he told the staff that he wanted to be part of the film. For "about a week", Brooks was to reprise the role of Hank Scorpio, but when the character was omitted from the film, he ended up voicing Cargill himself.
The cast did the first of three table readings in May 2005, and began recording every week from June 2006 until the end of production. James L. Brooks directed them for the first time since the television show's early seasons. Castellaneta found the recording sessions "more intense" than recording the television series and "more emotionally dramatic". Some scenes, such as Marge's video message to Homer, were recorded over one hundred times, leaving the voice cast exhausted.
The writers had written the opening concert scene without a specific band in mind. Green Day were cast in that role having requested to guest star in the show. Tom Hanks also appears as himself in the film and accepted the offer after just one phone call. Everybody Loves Raymond creator Philip Rosenthal provides the voice of the father in the "new Grand Canyon" commercial with Hanks. Due to time restraints, several guests who had recorded parts were cut from the film. Minnie Driver recorded the part of a patronizing grievance counselor in a scene that ended up being cut. Edward Norton recorded the part of the man who gets crushed as the dome is implemented, performing a Woody Allen impression. The staff felt the voice was too distracting, so Castellaneta re-recorded Norton's dialogue with a different voice. Isla Fisher and Erin Brockovich also recorded cameos, but their scenes were cut. Kelsey Grammer recorded lines for Sideshow Bob, who was to appear at several different points, but these scenes were also cut. Johnny Knoxville was also touted as a possible guest star.
Although he does not provide the voice, Arnold Schwarzenegger is president of the United States rather than then-President George W. Bush because, according to Groening, "in two years ... the film [would be] out of date". Brooks was nervous about the idea, noting that "[Schwarzenegger's] opinion polls were way down", and has said that they "were [hoping] he'd make a political comeback". The animators began by drawing an accurate caricature of Schwarzenegger, but one of the staff instead suggested an altered version of recurring character Rainier Wolfcastle as President. This idea was developed, with the design of Wolfcastle, himself also a caricature of Schwarzenegger, being given more wrinkles under his eyes and a different hairstyle.
Editing
Every aspect of the film was constantly analyzed, with storylines, jokes and characters regularly being rewritten. Although most animated films do not make extensive changes to the film during active production due to budget restrictions, The Simpsons Movie crew continued to edit their film into 2007, with some edits taking place as late as May, two months before the film was released. James L. Brooks noted, "70 percent of the things in [one of the trailers]—based on where we were eight weeks ago—are no longer in the movie." Groening said that enough material for two more films was cut. Various new characters were created, and then cut because they did not contribute enough. Originally Marge was the character who had the prophetic vision in church. The writers however considered this to be too dark and it was changed to Grampa. The role of Lisa's love interest Colin was frequently revised. He was previously named Dexter and Adrien, and his appearance was completely altered. One idea was to have Milhouse act as Lisa's love interest, but the writers realized "the audience was not as familiar with [his] long-standing crush on [Lisa] as [they had] thought". A car chase in which Homer throws flaming mummies out of a truck at the EPA was replaced with "more emotional and realistic" scenes at the motel and carnival that allowed for a change of pace. The scene of a naked Bart on his skateboard was Groening's idea, who had always wanted to have Bart skateboarding naked, and Scully had the idea of showing Bart's penis for two seconds. Storyboard Michael Archer was credited for devising the way to cover Bart's genitals with different things before they are exposed to the viewer. While the crew agreed that the gag would be funny, they wondered it if would mean an R-rating for the film, as they were happy with a PG-13 rating and that gag was nonsexual and silly. They were ultimately to get away with the joke because it wasn't live-action nor was it Homer's genitals.
Further changes were made after the March 2007 preview screenings of the film in Portland, Oregon and Phoenix, Arizona. This included the deletion of Kang and Kodos heavily criticizing the film during the end credits. A lot of people at the screenings found the original film too coarse, and some of Homer's behavior too unkind, so several scenes were toned down to make him appear nicer. Russ Cargill was redesigned several times, originally appearing as an older man whose speech patterns Albert Brooks based on Donald Rumsfeld. The older model was the one used by Burger King for the action figure. Cargill's scene with Bart and Homer at the film's conclusion was added in to fully resolve his story, and the "Spider-Pig" gag was also a late addition. One excised scene, before the dome is put over Springfield, had Mr. Burns reminding viewers that it was the last point in the film that they could get a refund. Other deletions included Homer's encounter with a sausage truck driver, which was featured on the DVD, a scene with Plopper the pig at the end, and a news report, showing the dome's effect on daily life in Springfield in areas such as farming and sport, was cut because it did not fit the overall context of the film. Several musical numbers, at various intervals throughout the film, were cut. These included a song about Alaska, featuring music by Dave Stewart of Eurythmics. Jean said it "got pretty far along in the animation, and then we got scared that the movie began to drag in that section."
Music
Producer James L. Brooks chose Hans Zimmer to compose the film's score, as they were good friends and regular collaborators. Zimmer felt that the score was a "unique challenge", and he had to "try and express the style of The Simpsons without wearing the audience out". He used Danny Elfman's original opening theme, but did not wish to overuse it. He created themes for each member of the family. Homer's leitmotif was a major focus, and Zimmer also composed smaller themes for Bart and Marge. Regular television series composer Alf Clausen was not asked to score the film, noting: "sometimes you're the windshield, sometimes you're the bug".
In addition to their appearance in the film, Green Day recorded its own version of the Simpsons theme, and released it as a single. Zimmer turned the Spider-Pig song into a choral piece, which was a joke he never intended to be put into the film. Zimmer also had to write foreign-language lyrics for the 32 dubbed versions of the song when the film was released internationally. He found translating the song into Spanish the hardest to write. The same choir learned to sing the piece for each of the foreign-language dubs.
Themes
Al Jean described the film's message as being "a man should listen to his wife". In addition, the film parodies two major contemporary issues, religion and environmentalism. The theme of environmentalism is present throughout the film: in Homer's polluting of Lake Springfield, Green Day's cameo, Lisa's activism and her romance with Colin. The villainous Russ Cargill is head of the Environmental Protection Agency. Reviewer Ed Gonzalez argued the plot was a satire of the government's reaction to the effects of Hurricane Katrina on New Orleans. Ian Nathan of Empire magazine criticized this focus, believing it gave the film an "overt political agenda [which] border[s] on polemic". James D. Bloom of Muhlenberg College commented on the "explicitness" of the film's "intellectual agenda", on this issue, shown particularly through Lisa. He wrote that the film's first post-opening credits scene, which sees Green Day fail in an attempt to engage their audience on the issue of the environment, "sets in motion a plot expressly built around cultural agenda-setting" and "reflection on timely 'issues'."
Religion is focused on in Grampa's momentary possession, and Marge believing what he said to be a message from God. Groening joked the film "posit[s] the existence of a very active God", when asked if he believed it was likely to offend. Mark I. Pinsky, author of The Gospel According to The Simpsons, said the film "treats genuine faith with respect, while keeping a sharp eye out for religious pretension and hypocrisy of all kinds". Regarding the scene where the tenants of Moe's Tavern and the Church switch locations, he believed it took the "chance to unmask everyone's human fallibility." In analyzing the role of Ned Flanders, he wrote, "It is [the] willingness of The Simpsons to depict all the different sides of us [...] that makes it so rich and funny on our complicated relationship with religion." Trees are a motif in the film, and they were implemented in every important or emotional scene throughout the film. The animators inserted an apple tree behind Lisa and Colin during their initial meeting, which was a reference to the biblical figures of Adam and Eve and the Garden of Eden.
Cultural references
Many cultural references and allusions are made throughout the film. Green Day play "Nearer, My God, to Thee" on violins as their barge sinks, in a sequence parodying the film Titanic. When Bart is riding his skateboard naked, different passing objects are almost constantly covering his genitalia, a nod to similar techniques used in Austin Powers: International Man of Mystery. Homer and Marge's love scene parodies many Disney films, including Cinderella, with Disney-style animals helping them undress. Originally, the music from The Wizard of Oz was used in that scene, and the fawn had white spots; these were removed because the animators felt it resembled Bambi too clearly. Bart impersonates Mickey Mouse on the train, calling himself "the mascot of an evil corporation". Homer plays Grand Theft Walrus, an allusion to the video game series Grand Theft Auto. In the game, his character shoots a tap-dancing penguin in reference to the film Happy Feet. The "Spider-Pig" song is a parody of the theme song of the 1967 Spider-Man TV series, and the name of Lisa's lecture is An Irritating Truth, a play on Al Gore's film An Inconvenient Truth. The bomb disposal robot was based on Vincent D'Onofrio's character Leonard "Pyle" Lawrence from the film Full Metal Jacket, who commits suicide in a similar way. At the end of the film, the crowd's celebration is similar to the conclusion of Return of the Jedi, with Carl performing exactly the same hand gestures as Lando Calrissian.
The $1,000 Homer received when entering Alaska is a reference to the Alaska Permanent Fund Dividend. As Homer leaves Eski-Moe's he grabs on to a passing truck and uses it to propel himself back to the house, a tribute to actor Buster Keaton, while the epiphany scene features homages to the film Brazil and the works of Salvador Dalí. Hillary Clinton appears as Itchy's vice president, while an Orc from The Lord of the Rings appears in the mob scene. A scene that was cut had Marge and the kids appear on the TV talk show The View to spread the news of Springfield's impending doom. Parts were written for the show's entire panel and the scene was planned to feature Russ Cargill having a gunfight with Joy Behar. Another dropped scene featured Moe describing Springfield's varying physical states inside the dome, one of which was the Disneyland ride Autopia. There are several references to events in previous TV episodes of The Simpsons. These include the wreckage of the ambulance from the episode "Bart the Daredevil" crashed into a tree next to Springfield Gorge. The Carpenters' song "(They Long to Be) Close to You" was used in Homer and Marge's wedding video and had also been used in several emotional moments between them in the TV series.
Release
Theatrical
On April 1, 2006, 20th Century Fox announced that the film would be released worldwide on July 27, 2007. The film was released a day earlier in Australia and the United Kingdom. Little information about the plot was released in the weeks building up to the film's release. Groening did not feel that "people look in the TV section of the newspaper and think, 'I'll watch this week's Simpsons because I like the plot.' You just tune in and see what happens."
Fox held a competition among 16 Springfields across the United States to host the American premiere. Each Springfield produced a film, explaining why their town should host the premiere, with the results being decided via a vote on the USA Today website. Springfield, Minnesota dropped out on May 31, 2007. The winner was announced on July 10 to be Springfield, Vermont. The town beat Springfield, Illinois by 15,367 votes to 14,634. Each of the other 14 entrants held their own smaller screenings of the film on July 26. Springfield, Vermont hosted the world premiere of the film on July 21 with a yellow carpet instead of the traditional red.
The film was rated PG-13 by the Motion Picture Association of America for "irreverent humor throughout"; the production staff had expected this rating. However, the British Board of Film Classification passed the film as a PG with no cuts made. A BBFC spokeswoman said regarding Bart's brief nude scene, "natural nudity with no sexual content is acceptable in PG films". The film was banned in Myanmar, not for the scene of nudity, but for the excessive use of the colors yellow and red, which is prohibited in the country.
Marketing
The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion.
Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away.
McFarlane Toys released a line of action figures based on the film while EA Games released The Simpsons Game to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system.
Home media
The film was released on DVD and Blu-ray Disc worldwide on December 3, 2007, and on December 18 in the United States. It contains commentary tracks from both the producers and animators, six short deleted scenes, and a selection of material used to promote the film release. An unfinished deleted scene of the townspeople singing the Springfield Anthem was also included on The Simpsons The Complete Tenth Season DVD box set.
Promotions for the DVD release occurred across the United States. The Empire State Building was illuminated yellow, the first time the building had ever been used as part of a film promotion. In the United Kingdom, Fox launched a £5 million advertising campaign. They also signed a £1.6 million deal with the yogurt company Yoplait, to produce a The Simpsons Movie design for their brand Frubes. In its first week it topped the U.S. DVD chart, and generated $11.8 million in rental revenue.
The Simpsons Movie was included on Disney+ on November 12, 2019.
Reception
Critical reception
On Rotten Tomatoes, the film has an approval rating of 87% based on 223 reviews and an average rating of 7.5/10. The site's critical consensus reads, "The Simpsons Movie contains the hearty laughs, biting satire, and honest portrayal of an American family that makes the show so popular. And it boasts slicker animation and polished writing that hearkens back to the show's glory days." On Metacritic, it received a score of 80 out of 100, based on 36 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.
British newspapers The Guardian and The Times both gave the film four out of five stars. The Times' James Bone said that it "boasts the same sly cultural references and flashes of brilliance that have earned the television series a following that ranges from tots to comparative literature PhDs". The Guardian's Peter Bradshaw stated that it "gives you everything you could possibly want" and that he thought, "Eighty-five minutes [was] not long enough to do justice to 17 years of comedy genius". Ed Gonzalez praised the film for its political message, likening the Itchy & Scratchy cartoon at the beginning to President Schwarzenegger's situation later on, as well as the film's visual gags. Randy Shulman praised the cast, and described them as having "elevated their vocal work to a craft that goes way beyond simple line readings", and particularly praised Kavner who he said "gave what must be the most heartfelt performance ever". Roger Ebert gave a positive review of three out of four stars, but admitted he was "generally [not] a fan of movies spun off from TV animation". He called it "radical and simple at the same time, subversive and good-hearted, offensive without really meaning to be". Richard Corliss of Time said that the film "doesn't try to be ruder or kinkier, just bigger and better".
USA Today film critic Claudia Puig said that the story did "warrant a full-length feature, thanks to a clever plot and non-stop irreverent humor". Patrick Kolan believed that the film was "easily the best stuff to come [from the Simpsons] since season 12 or 13" and praised the animation, but also said that the appearances of characters such as Comic Book Guy and Seymour Skinner were "small and unfunny". Kirk Honeycutt of The Hollywood Reporter praised the film's good nature, stating that the laughs "come in all sizes", but also noted that, "little has been gained bringing the Simpsons to the screen."
Variety's Brian Lowry called it "clever, irreverent, satirical and outfitted" but that it was "just barely" capable of sustaining a running time longer than a television episode. Lisa Schwarzbaum praised the voice cast but stated that the "'action' sequences sometimes falter". When comparing the film to the early episodes of the show, Stephen Rowley concluded that the film "has more going for it than the show in its later years, but is still a long way short of what made it so invigorating". The Monthly critic Luke Davies echoed Lowry's concerns about the length: "everything moves with the whip-crack speed of a half-hour episode. And that's the paradox: it makes the film feel like three episodes strung together. We're in a cinema, and we expect something epic." He opined that "in the great arc that is the history of The Simpsons, this film will come to be seen as oddity rather than apotheosis."
More negative reception came from the magazine Empire, where reviewer Ian Nathan compared the film to New Coke, saying that "it utterly failed". Phil Villarreal believed that there were "too few laugh-worthy moments" and that "instead of stretching to new frontiers, the film rests on the familiar". Sheila Johnston criticized the pacing of the film and its joke level saying that "the overall momentum flags at times" and that it was "a salvo of comic squibs, some very funny, others limp". David Edwards agreed with this, writing that although "there's a great half-hour show rattling around...the rest is padding at its very dullest", concluding that it "isn't a terrible film, just a terribly disappointing one." Cosmo Landesman believed, "the humour seem[ed] to have lost its satirical bite and wit" and that "much of the comedy is structured around the idiocy of Homer". This assessment was shared by Carina Chocano of the Los Angeles Times, who felt that "once the movie wanders into its contemplation of mortality and meaning, the trenchancy kind of creaks and falls off." She negatively compared it to South Park: Bigger, Longer & Uncut (1999), a film similarly adapted from an animated television series, saying that, in terms of satire, it offers "nothing we don't hear every night on The Daily Show with Jon Stewart." Bruce Newman criticized the fleeting appearances of many of the show's secondary characters, and found the film to be "a disappointment".
Box office
The film earned $30,758,269 on its opening day in the U.S. making it the 25th-highest, and fifth-highest non-sequel opening day revenue of all time. It grossed a combined total of $74,036,787 in its opening weekend on 5,500 screens at 3,922 theaters, reaching the top of the box office for that weekend. This made it the tenth-highest revenue of all time, for an opening weekend in July, and highest among non-sequels, and the highest animated TV adaptation of all time. This outperformed the expectations of $40 million that Fox had for the release.
It set several American box office records, including highest grossing opening weekend for a non-CG animated film and for a film based on a television series, surpassing Mission: Impossible 2. It was also the third-highest grossing opening weekend for an animated film. It opened at the top of the international box office taking $96 million from 71 overseas territories, including $27.8 million in the United Kingdom, the second-highest UK opening ever for a 20th Century Fox film. It contributed to over half of the record 5.5 million people attending British cinemas that weekend. In Australia, it grossed $13.2 million, the third-highest opening weekend in the country, and the highest for an animated film. The United Kingdom is the highest-grossing country for the film outside the US with a $78.4 million gross overall, with Germany in second place with a $36.3 million gross overall. The film closed on December 20, 2007 with a gross of $183.1 million in the United States and Canada and a worldwide gross of $536.4. It was the eighth-highest-grossing film worldwide and the twelfth-highest grossing in the United States and Canada of 2007.
Accolades
The Simpsons Movie won the award for Best Comedy Film at the British Comedy Awards, Best Animation at the inaugural ITV National Movie Awards, and Best Movie at the UK Nickelodeon Kids Choice Awards, beating Harry Potter and the Order of the Phoenix, Pirates of the Caribbean: At World's End, and Shrek the Third. The film's trailer won a Golden Trailer Award in the category Best Animated/Family Film Trailer at the 8th Annual Golden Trailer Awards. Forbes named the film the third best of the year, based on its box office takings and Metacritic critical response score. The film's website received a Webby Award at the 12th Annual Webby Awards in the category "Best Movie and Film Website".
At the 35th Annie Awards the film was nominated in four categories: Best Animated Feature, Directing in an Animated Feature Production, Writing in an Animated Feature Production, and Voice Acting in an Animated Feature Production for Julie Kavner. All four awards were won by Ratatouille. It was nominated for Best Animated Feature Film at the 65th Golden Globe Awards, the BAFTA for Best Animated Film, and the Producers Guild Award for Animated Theatrical Motion Picture. It also received nominations for the Satellite Award for Best Animated or Mixed Media Feature, the Chicago Film Critics Association Award for Best Animated Feature, and the Broadcast Film Critics Association Award for Best Animated Feature.
Before its release, the film received a nomination at the 2007 MTV Movie Awards for "Best Summer Movie You Haven't Seen Yet", with the award ultimately won by Transformers, and lost the Teen Choice Award for "Choice Summer Movie – Comedy/Musical", which was won by Hairspray. It was also nominated for Favorite Movie Comedy at the People's Choice Awards, losing to Knocked Up.
Planned sequel
In 2014, Brooks stated that he had been approached by Fox and that they had requested a second film. He added that there were no immediate plans, stating, "We've been asked to [develop it], but we haven't. We're doing a lot of other stuff." In December 2014, just prior to the broadcast of the episode "The Man Who Came to Be Dinner", Jean wrote on Twitter that the episode (which had been produced in 2012 and was originally set to air in May 2013) had been held back by himself and Brooks because it was being considered for adaptation into a sequel film as the episode was "cinematic". Jean later expanded that there was the fear of the potential film being considered "not canonical" with the TV series and the potential backlash of overcoming it by using a "memory wipe". In July 2017, Silverman and Jean said that the sequel was in the early stages of development and stressed the toll production of the first picture took on the entire staff. On August 10, 2018, it was reported that a sequel is in development. On July 22, 2019, Groening stated that he has "no doubts" that Disney will likely produce a sequel one day. In July 2021, Jean stated that discussions for the potential sequel had stalled due to the COVID-19 pandemic.
References
External links
2007 films
2007 animated films
2007 comedy films
2007 directorial debut films
2000s American animated films
20th Century Fox animated films
20th Century Fox Animation films
20th Century Fox films
American adult animated films
American films
American animated comedy films
Animated comedy films
Animated films based on animated series
Animated films based on animated television series
Animated films set in the United States
The Simpsons
English-language films
Films about dysfunctional families
Films directed by David Silverman
Films produced by James L. Brooks
Films produced by Matt Groening
Films scored by Hans Zimmer
Films set in fictional populated places
Films with screenplays by James L. Brooks
Films with screenplays by John Swartzwelder
Films with screenplays by Matt Groening
Fox Television Animation films
Gracie Films films
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[
"Customer Acquisition Cost (CAC) is the cost of winning a customer to purchase a product or service. As an important unit economic, customer acquisition costs are often related to customer lifetime value (CLV or LTV). \n\nWith CAC, any company can gauge how much they’re spending on acquiring each customer. It shows the money spent on marketing, salaries, and other things to acquire a customer.\nKeep an eye on CAC so it doesn’t get out of control. For example, no rational company would spend $500 to acquire a new customer with an expected LTV of $300 because it would drain $200 of value per customer acquired. \n\nCAC, combined with LTV is a frequently compared metric, particularly for SaaS companies. They can manage their expenses, see their growth, predict their future moves, and expand if the business allows.\n\nCalculating Customer Acquisition Costs\nThere is a simple and complex method for calculating acquisition costs.\n\nSimple Method\nThe simple method divides the total marketing costs to acquire new customers by the total number of customers acquired in a defined period.\n\n CAC = Customer Acquisition Cost \n MCC = total marketing cost for acquiring customers (not regular customers)\n CA = total customers acquired \n\nComplex Method\nIn addition to the costs incurred in marketing, the complex method includes sales and marketing wages, software costs for sales and marketing, all additional professional services such as designers, consultants, etc., as well as other overhead costs.\n\n CAC = Customer Acquisition Cost \n MCC = total marketing cost for acquiring customers (not regular customers)\n W = wages connected with sales and marketing \n S = all the marketing and sales associated software cost (inc. E-Commerce-Platform, automated marketing, A / B-testing, analytics etc.)\n PS = every additional professional service in marketing / sales (Designer, consultant, etc.)\n O = other overheads associated with marketing and sales\n CA = total customers acquired\n\nCustomer acquisition costs in relation to customer lifetime value\nCustomer lifetime value expresses the monetary value that a customer is worth to the company in the course of a customer relationship. If the ratio of LTV to CAC is now calculated, different values can result. \n 1:1 The company loses money with every acquisition. \n less than 1:1 The company gets into financial difficulties because more is paid for customers than they are worth. \n 3:1 is a very good level because the customer relationships are solid and customers are acquired for the right price. \n higher than 3:1 means the company has untapped growth potential to acquire customers.\n\nCustomer acquisition costs in the environment of start-ups and venture capital\nIn the approach and review phase of venture capital companies to start-ups, the CAC and LTV ratios can be of great importance depending on what type of market or product is produced.\n\nSee also\n Customer acquisition management\n Customer lifecycle management\n Performance metric\n Controlling\n Marketing\n Sales\n Venture capital\n Software as a service (SaaS)\n\nReferences\n\n \n \n\n \n \n \n \n \n Rotem, Eran (2021-08-31). \"customer acquisition cost (cac) - a management concept worth knowing\". All about the terms CAC, CLV, ROI, TCO, MAC, SAC. Adcore. \n\n \n\nSpecific\n\nMarketing analytics\nSales",
"Direct digital marketing is a marketing method that uses such things as a consumer's email to send advertisements and other forms of communications to a target audience. Direct marketing campaigns feature calls-to-action that allow marketers to track and measure responses consumers have to marketing campaigns. The personalization and targeting capabilities of direct digital marketing have proven effective. The direct digital marketing has been done directly with the help of other digital medium options such as e-mail, web service, and social media platforms. It is easier to achieve goals in direct digital marketing as compared to traditional marketing. Another advantage of direct marketing is the cost reduction. By using digital marketing resources, companies lower their mail costs. E-mail marketing is much more affordable for companies in terms of marketing and directly reaching consumers. Businesses interact with customers through email, web browsers, mobile applications, social media sites, and other digital media channels. E-mail marketing is considered one of the key marketing solutions besides content and social media marketing.\n\nHistory \nEarlier, traditional direct marketing was achieved by using a customer’s postal address. Digital marketing is very similar to direct digital marketing. As the internet and social media began to grow, so did marketing through those platforms. Specifically, email marketing and text message marketing greatly expanded with the expanding technology.\n\nOnline ecosystems \nEcosystems group around main software providers. These form around social and digital marketing when new standards and designs are created. Companies such as Apple and Google have created their own online ecosystems. Companies like Apple and Google are also able to be interfered with by regulators of ecosystems. In marketing, ecosystems have less coherence than in Information Technology (IT).\n\nReferences\n\nDigital marketing"
] |
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"The Simpsons Movie",
"Marketing",
"how much did marketing cost?",
"The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million."
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C_d89de81934a1413f801b02acd1dedcf4_1
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Was there any stunts in marketing?
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Was there any stunts in marketing for The Simpsons Movie?
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The Simpsons Movie
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The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion. Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away. McFarlane Toys released a line of action figures based on the film, EA Games released The Simpsons Game, to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system. CANNOTANSWER
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Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion.
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The Simpsons Movie is a 2007 American animated comedy film based on the long-running animated sitcom The Simpsons. The film was directed by the show's supervising director David Silverman and stars the show's regular cast of Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Harry Shearer, Tress MacNeille, Pamela Hayden, Karl Wiedergott, Marcia Wallace, Maggie Roswell, Russi Taylor, Joe Mantegna, and Albert Brooks. The film follows Homer Simpson, who irresponsibly pollutes the lake in Springfield, causing the Environmental Protection Agency (EPA) to imprison the town under a giant glass dome. After he and his family escape, they ultimately abandon Homer for his selfishness and return to Springfield to prevent the town’s demolition by Russ Cargill, head of the EPA. Homer works to redeem his folly by returning to Springfield himself in an effort to save it.
Although previous attempts to create a Simpsons film had been made, they failed due to the lack of lengthy script and production crew members. Eventually in 2001, producers James L. Brooks, Matt Groening, Al Jean, Mike Scully and Richard Sakai began development of the film and a writing team consisting of Brooks, Groening, Jean, Scully, Ian Maxtone-Graham, George Meyer, David Mirkin, Mike Reiss, Matt Selman, John Swartzwelder and Jon Vitti was assembled. They conceived numerous plot ideas, with Groening's being the one adapted. The script was rewritten over a hundred times, also continuing after work on the animation began in 2006. Consequently, hours of finished material was cut from the final release, including cameo roles from Erin Brockovich, Minnie Driver, Isla Fisher, and Edward Norton (as well as Kelsey Grammer, who would have reprised his role as Sideshow Bob). Tom Hanks and the members of Green Day voice their own animated counterparts in the final cut of the film, while Albert Brooks, a frequent guest performer on the series, provides the voice of its main antagonist, Russ Cargill.
Tie-in promotions were made with several companies to promote the film's release, including Burger King and 7-Eleven, the latter of which transformed selected stores into Kwik-E-Marts. The film premiered in Springfield, Vermont on July 21, 2007 and was released theatrically six days later by 20th Century Fox across the United States. The Simpsons Movie received positive reviews and grossed $536.4 million worldwide, became the eighth highest-grossing film of 2007, the second highest-grossing traditionally animated film (behind Walt Disney Animation Studios' The Lion King), and the highest-ever grossing film based on an animated television series. The film received praise for its humor, emotional weight, and callbacks to early seasons. The film was nominated for numerous awards, including a Golden Globe Award for Best Animated Feature Film at the 65th Golden Globe Awards.
Plot
One summer on Lake Springfield, Green Day, after finishing a concert, try to engage the audience in a discussion about the environment, angering the audience into throwing garbage at them, causing the pollution in the lake to erode and sink the band's barge, drowning them. During their memorial at Reverend Lovejoy's church, Grampa Simpson has a spiritual experience and frantically prophesies that a disaster will befall Springfield, but only Marge takes it seriously. Concerned about the terrible state of the environment, Lisa and her new love interest, Colin, hold a seminar where they successfully convince Mayor Quimby to tell the town to clean up the lake. Meanwhile, after a series of dares, including one with Bart skateboarding across Springfield naked and getting in trouble with Chief Wiggum, Homer and Bart go to Krusty Burger, where Homer adopts a pig that Krusty the Clown was about to have killed. Marge, identifying the pig as a part of Grampa's prophecy, warns Homer to get rid of it, but Homer refuses. Homer's fawning over the pig makes Bart, now fed up with his father's carelessness, look to their neighbor, Ned Flanders, as a father figure.
Homer stores the pig's feces in an overflowing silo, disgusting Marge. Homer attempts to dispose of it safely at Marge's request, but his friend Lenny calls him to inform him about Lard Lad Donuts giving away all their donuts for free due to failing a health inspection. In a rush to get to the giveaway, Homer dumps the silo in the lake, critically polluting it. Moments later, a squirrel stumbles into it and becomes severely mutated. While bonding on a hike, Bart and Flanders notice the squirrel, which the EPA capture. Russ Cargill, head of the EPA, informs President Arnold Schwarzenegger on Springfield's pollution crisis and presents five solutions. Without reading them, the president randomly picks the third solution: imprisoning Springfield under a giant glass dome. When Homer's silo is discovered, the townspeople, including Grampa, the school staff, the Simpsons' friends and neighbors, except for the Flanders and Colin, form an angry mob, ransack their house and attempt to lynch them. The family escapes through a sinkhole that Homer hid using Maggie's sandbox, which destroys the house soon after. The family flees to Alaska using a truck that Lisa helps Homer win at a contest, where they try to restart their life.
Within ninety three days, Springfield completely exhausts its daily supplies and the townspeople go crazy as they attempt to escape from the dome using brute force to destroy it, causing cracks to form. Cargill, not wanting news of what he has done to spread around the world, plots to destroy Springfield by tricking the president into choosing a solution that involves its demolition. The Simpsons see a television advertisement for a new Grand Canyon on the site of Springfield. Realizing that their hometown is in danger, the family decide to save it except for Homer, who objects to helping the people who had turned on them. The family soon abandons Homer for his selfishness, with Marge leaving behind a recorded video about it, causing him to run off in search of them. The family are captured by the EPA and placed back inside the dome. After an encounter with a mysterious Inuit shaman who saves him from a polar bear, Homer has an epiphany about saving the town in order to save himself.
Homer returns home and learns about his family's capture as a helicopter lowers a time bomb suspended by a rope through a hole at the top of the dome. Homer enters the dome and descends the rope, knocking the escaping townspeople and the bomb off, inadvertently shortening its countdown, much to the townspeople's anger. After reuniting and reconciling with Bart, they use a motorcycle to travel up the side of the dome and throw the bomb through the hole seconds before it detonates, shattering the dome and freeing the town. Homer and Bart land safely at Springfield Gorge where a shotgun-wielding Cargill confronts them and attempts to shoot them for foiling his plan. But before he can do so, Maggie knocks him out by dropping a large rock on his head. The townspeople praise and forgive Homer, who reconciles with Marge as Springfield begins restoration.
Cast
Dan Castellaneta as Homer Simpson, Abe Simpson, Krusty the Clown, Groundskeeper Willie, Mayor Quimby, Sideshow Mel, Mr. Teeny, EPA Official, Itchy, Barney Gumble, Stage Manager, Blue Haired Lawyer, Multi-Eyed Squirrel, Hans Moleman, Panicky Man, Kissing Cop, Bear, Boy on Phone, NSA Worker, Officer, Rich Texan, Santa's Little Helper, and Squeaky-Voiced Teen
Julie Kavner as Marge Simpson, Selma Bouvier, and Patty Bouvier
Nancy Cartwright as Bart Simpson, Ralph Wiggum, Todd Flanders, Nelson Muntz, Maggie Simpson, TV Daughter, Woman on Phone, and Kearney Zzyzwicz
Yeardley Smith as Lisa Simpson
Hank Azaria as Moe Szyslak, Chief Wiggum, Cletus Spuckler, Professor Frink, Apu Nahasapeemapetilon, Lou, Comic Book Guy, Captain McCallister, Bumblebee Man, Dr. Nick, Carl, Male EPA Worker, Dome Depot Announcer, Kissing Cop, Carnival Barker, Gas Station Clerk, Drederick Tatum, EPA Passenger, Robot, and Wiseguy
Harry Shearer as Mr. Burns, Smithers, Ned Flanders, Reverend Lovejoy, Lenny, President Arnold Schwarzenegger, Seymour Skinner, Kent Brockman, Dr. Hibbert, Otto Mann, Scratchy, Skull, Toll Booth Operator, and Guard
Pamela Hayden as Milhouse Van Houten, Rod Flanders, and Jimbo Jones
Tress MacNeille as Medicine Woman, Agnes Skinner, Crazy Cat Lady, Colin, Cookie Kwan, Sweet Old Lady, Mrs. Muntz, Plopper, Female EPA Worker, Lindsey Neagle, GPS Voice, TV Son, Girl on Phone, and Dolph Starbeam
Albert Brooks (as "A. Brooks") as Russ Cargill
Karl Wiedergott as EPA Officer and Man
Marcia Wallace as Edna Krabappel (scenes deleted)
Russi Taylor as Martin Prince
Maggie Roswell as Helen Lovejoy and Miss Hoover
Phil Rosenthal as TV Dad
Billie Joe Armstrong, Frank Edwin Wright III, and Michael Pritchard as Green Day (themselves)
Joe Mantegna as Fat Tony
Tom Hanks as himself
Additional voices are done by Castellaneta, Kavner, Cartwright, Smith, Azaria, Shearer, Hayden, MacNeille, Wiedergott, Wallace, Taylor, and Roswell
Production
Development
The production staff had considered a film adaptation of The Simpsons since early in the series. The show's creator, Matt Groening, felt a feature-length film would allow them to increase the show's scale and animate sequences too complex for the TV series. He intended the film to be made after the show ended, "but that [...] was undone by good ratings". There were attempts to adapt the fourth season episode "Kamp Krusty" into a film, but difficulties were encountered in expanding the episode to feature-length. For a long time the project was held up. There was difficulty finding a story that was sufficient for a film, and the crew did not have enough time to complete such a project, as they already worked full-time on the show. Groening also expressed a wish to make Simpstasia, a parody of Fantasia; it was never produced, partly because it would have been too difficult to write a feature-length script. At another point, it was briefly suggested to do an anthology-style Treehouse of Horror film, but such suggestion was never pursued. Recurring guest performer Phil Hartman had wished to make a live-action film based on his character Troy McClure; several of the show's staff expressed a desire to help create it, and Josh Weinstein proposed to use the plot of the 1996 episode "A Fish Called Selma" for the film, but the project was cancelled following Hartman's death in 1998.
The voice cast was signed on to do the film in 2001, and work then began on the script. The producers were initially worried that creating a film would have a negative effect on the series, as they did not have enough crew to focus their attention on both projects. As the series progressed, additional writers and animators were hired so that both the show and the film could be produced at the same time. Groening and James L. Brooks invited back Mike Scully and Al Jean (who continued to work as showrunner on the television series) to produce the film with them. They then signed David Silverman (who, in anticipation of the project, had quit his job at Pixar) to direct the film. The "strongest possible" writing team was assembled, with many of the writers from the show's early seasons being chosen. David Mirkin, Mike Reiss, George Meyer, John Swartzwelder, and Jon Vitti were selected. Ian Maxtone-Graham and Matt Selman joined later, and Brooks, Groening, Scully, and Jean also wrote parts of the script. Sam Simon did not return having left the show over creative differences in 1993. Former writer Conan O'Brien expressed interest in working with the Simpsons staff again, although he later joked that "I worry that the Simpsons-writing portion of my brain has been destroyed after 14 years of talking to Lindsay Lohan and that guy from One Tree Hill, so maybe it's all for the best." The same went for director Brad Bird who said he had "entertained fantasies of asking if [he] could work on the movie", but did not have enough time due to work on Ratatouille. The producers arranged a deal with Fox that would allow them to abandon production of the film at any point if they felt the script was unsatisfactory.
Work continued on the screenplay from late 2003 onwards, taking place in the small bungalow where Groening first pitched The Simpsons in 1987. The writers spent six months discussing a plot, and each of them offered sketchy ideas. On their first brainstorming session, Scully suggested a story in which Steven Spielberg (intended to be voiced by Spielberg himself) would try to blow up Springfield so he can shoot a film with Tom Hanks (who ultimately made a guest appearance voicing himself in the finished film). It was also on this same reunion that Groening introduced the idea of Homer adopting a pet pig, inspired by a pig-waste management story he had read in the news. Jean suggested the family rescue manatees, which became the 2005 episode "The Bonfire of the Manatees", and there was also a notion similar to that of The Truman Show where the characters discovered their lives were a TV show. Groening rejected this, as he felt that the Simpsons should "never become aware of themselves as celebrities", but the idea was later used in the video game The Simpsons Game. Groening read about a town that had to get rid of pig feces in their water supply, which inspired the plot of the film. The decision for Flanders to have an important role also came early on, as Jean wished to see Bart wonder what his life would be like if Flanders were his father. Hank Scorpio, a character from the 1996 episode "You Only Move Twice", was originally meant to return as the main antagonist, but the staff dropped the idea and created Russ Cargill instead. Having eventually decided on the basic outline of the plot for the film, the writers then separated it into seven sections. Jean, Scully, Reiss, Swartzwelder, Vitti, Mirkin, and Meyer wrote 25 pages each, and the group met one month later to merge the seven sections into one "very rough draft". The film's script was written in the same way as the television series: the writers sitting around a table, pitching ideas, and trying to make each other laugh. The script went through over 100 revisions, and at one point the film was a musical. However, the songs were continually being shortened and the idea was dropped. Groening described his desire to also make the film dramatically stronger than a TV episode, saying that he wanted to "give you something that you haven't seen before".
Animation
Animation for the film began in January 2006, with the Itchy & Scratchy short being the first scene to be storyboarded. Groening rejected making either a live-action or a CGI film, calling the film's animation "deliberately imperfect" and "a tribute to the art of hand-drawn animation". The film was produced in a widescreen 2.40:1 aspect ratio, to distinguish it from the look of the television series, and colored with the largest palette the animators ever had available to them. A lot of the animation was produced using Wacom Cintiq tablets, which allowed images to be drawn directly onto a computer monitor to facilitate production. Animation production work was divided among four studios around the world: Film Roman in Burbank, California, Rough Draft Studios in Glendale, California, and AKOM and Rough Draft's division in Seoul, South Korea. As with the television series, the storyboarding, characters, background layout, and animatic parts of production, were done in America. The overseas studios completed the inbetweening, digital ink and paint, and rendered the animation to tape before being shipped back to the United States.
Director David Silverman said that unlike the TV series where "you [have] to pick and choose", the film gave them the opportunity to "lavish that attention [on] every single scene". The characters have shadows, unlike in the show. Silverman and the animators looked to films such as The Incredibles, The Triplets of Belleville, and Bad Day at Black Rock for inspiration, as they were "a great education in staging because of how the characters are placed". They also looked for ideas for a dream sequence, in Disney films such as Dumbo and the Pluto cartoon Pluto's Judgment Day and for crowd scenes in It's a Mad, Mad, Mad, Mad World. Silverman looked at some of the Simpsons episodes he had directed, primarily his two favorites, "Homie the Clown" and "Three Men and a Comic Book". Mike B. Anderson, Lauren MacMullan, Rich Moore and Steven Dean Moore each directed the animation for around a quarter of the film under Silverman's supervision, with numerous other animators working on scenes.
Casting
For inspiration for the crowd scenes in the film, the production staff referenced a poster featuring more than 320 Simpsons characters. Groening said they tried to include every single character in the film, with 98 having speaking parts, and most members of the crowds being previously established characters instead of generic people. The series' regular voice actors: Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria and Harry Shearer, as well as semi-regular performers Tress MacNeille, Pamela Hayden, Marcia Wallace, Maggie Roswell, Russi Taylor and Karl Wiedergott, reprised their roles. Joe Mantegna returned as Fat Tony, while Albert Brooks, who supplied many guest voices in episodes, was cast as the main antagonist Russ Cargill after he told the staff that he wanted to be part of the film. For "about a week", Brooks was to reprise the role of Hank Scorpio, but when the character was omitted from the film, he ended up voicing Cargill himself.
The cast did the first of three table readings in May 2005, and began recording every week from June 2006 until the end of production. James L. Brooks directed them for the first time since the television show's early seasons. Castellaneta found the recording sessions "more intense" than recording the television series and "more emotionally dramatic". Some scenes, such as Marge's video message to Homer, were recorded over one hundred times, leaving the voice cast exhausted.
The writers had written the opening concert scene without a specific band in mind. Green Day were cast in that role having requested to guest star in the show. Tom Hanks also appears as himself in the film and accepted the offer after just one phone call. Everybody Loves Raymond creator Philip Rosenthal provides the voice of the father in the "new Grand Canyon" commercial with Hanks. Due to time restraints, several guests who had recorded parts were cut from the film. Minnie Driver recorded the part of a patronizing grievance counselor in a scene that ended up being cut. Edward Norton recorded the part of the man who gets crushed as the dome is implemented, performing a Woody Allen impression. The staff felt the voice was too distracting, so Castellaneta re-recorded Norton's dialogue with a different voice. Isla Fisher and Erin Brockovich also recorded cameos, but their scenes were cut. Kelsey Grammer recorded lines for Sideshow Bob, who was to appear at several different points, but these scenes were also cut. Johnny Knoxville was also touted as a possible guest star.
Although he does not provide the voice, Arnold Schwarzenegger is president of the United States rather than then-President George W. Bush because, according to Groening, "in two years ... the film [would be] out of date". Brooks was nervous about the idea, noting that "[Schwarzenegger's] opinion polls were way down", and has said that they "were [hoping] he'd make a political comeback". The animators began by drawing an accurate caricature of Schwarzenegger, but one of the staff instead suggested an altered version of recurring character Rainier Wolfcastle as President. This idea was developed, with the design of Wolfcastle, himself also a caricature of Schwarzenegger, being given more wrinkles under his eyes and a different hairstyle.
Editing
Every aspect of the film was constantly analyzed, with storylines, jokes and characters regularly being rewritten. Although most animated films do not make extensive changes to the film during active production due to budget restrictions, The Simpsons Movie crew continued to edit their film into 2007, with some edits taking place as late as May, two months before the film was released. James L. Brooks noted, "70 percent of the things in [one of the trailers]—based on where we were eight weeks ago—are no longer in the movie." Groening said that enough material for two more films was cut. Various new characters were created, and then cut because they did not contribute enough. Originally Marge was the character who had the prophetic vision in church. The writers however considered this to be too dark and it was changed to Grampa. The role of Lisa's love interest Colin was frequently revised. He was previously named Dexter and Adrien, and his appearance was completely altered. One idea was to have Milhouse act as Lisa's love interest, but the writers realized "the audience was not as familiar with [his] long-standing crush on [Lisa] as [they had] thought". A car chase in which Homer throws flaming mummies out of a truck at the EPA was replaced with "more emotional and realistic" scenes at the motel and carnival that allowed for a change of pace. The scene of a naked Bart on his skateboard was Groening's idea, who had always wanted to have Bart skateboarding naked, and Scully had the idea of showing Bart's penis for two seconds. Storyboard Michael Archer was credited for devising the way to cover Bart's genitals with different things before they are exposed to the viewer. While the crew agreed that the gag would be funny, they wondered it if would mean an R-rating for the film, as they were happy with a PG-13 rating and that gag was nonsexual and silly. They were ultimately to get away with the joke because it wasn't live-action nor was it Homer's genitals.
Further changes were made after the March 2007 preview screenings of the film in Portland, Oregon and Phoenix, Arizona. This included the deletion of Kang and Kodos heavily criticizing the film during the end credits. A lot of people at the screenings found the original film too coarse, and some of Homer's behavior too unkind, so several scenes were toned down to make him appear nicer. Russ Cargill was redesigned several times, originally appearing as an older man whose speech patterns Albert Brooks based on Donald Rumsfeld. The older model was the one used by Burger King for the action figure. Cargill's scene with Bart and Homer at the film's conclusion was added in to fully resolve his story, and the "Spider-Pig" gag was also a late addition. One excised scene, before the dome is put over Springfield, had Mr. Burns reminding viewers that it was the last point in the film that they could get a refund. Other deletions included Homer's encounter with a sausage truck driver, which was featured on the DVD, a scene with Plopper the pig at the end, and a news report, showing the dome's effect on daily life in Springfield in areas such as farming and sport, was cut because it did not fit the overall context of the film. Several musical numbers, at various intervals throughout the film, were cut. These included a song about Alaska, featuring music by Dave Stewart of Eurythmics. Jean said it "got pretty far along in the animation, and then we got scared that the movie began to drag in that section."
Music
Producer James L. Brooks chose Hans Zimmer to compose the film's score, as they were good friends and regular collaborators. Zimmer felt that the score was a "unique challenge", and he had to "try and express the style of The Simpsons without wearing the audience out". He used Danny Elfman's original opening theme, but did not wish to overuse it. He created themes for each member of the family. Homer's leitmotif was a major focus, and Zimmer also composed smaller themes for Bart and Marge. Regular television series composer Alf Clausen was not asked to score the film, noting: "sometimes you're the windshield, sometimes you're the bug".
In addition to their appearance in the film, Green Day recorded its own version of the Simpsons theme, and released it as a single. Zimmer turned the Spider-Pig song into a choral piece, which was a joke he never intended to be put into the film. Zimmer also had to write foreign-language lyrics for the 32 dubbed versions of the song when the film was released internationally. He found translating the song into Spanish the hardest to write. The same choir learned to sing the piece for each of the foreign-language dubs.
Themes
Al Jean described the film's message as being "a man should listen to his wife". In addition, the film parodies two major contemporary issues, religion and environmentalism. The theme of environmentalism is present throughout the film: in Homer's polluting of Lake Springfield, Green Day's cameo, Lisa's activism and her romance with Colin. The villainous Russ Cargill is head of the Environmental Protection Agency. Reviewer Ed Gonzalez argued the plot was a satire of the government's reaction to the effects of Hurricane Katrina on New Orleans. Ian Nathan of Empire magazine criticized this focus, believing it gave the film an "overt political agenda [which] border[s] on polemic". James D. Bloom of Muhlenberg College commented on the "explicitness" of the film's "intellectual agenda", on this issue, shown particularly through Lisa. He wrote that the film's first post-opening credits scene, which sees Green Day fail in an attempt to engage their audience on the issue of the environment, "sets in motion a plot expressly built around cultural agenda-setting" and "reflection on timely 'issues'."
Religion is focused on in Grampa's momentary possession, and Marge believing what he said to be a message from God. Groening joked the film "posit[s] the existence of a very active God", when asked if he believed it was likely to offend. Mark I. Pinsky, author of The Gospel According to The Simpsons, said the film "treats genuine faith with respect, while keeping a sharp eye out for religious pretension and hypocrisy of all kinds". Regarding the scene where the tenants of Moe's Tavern and the Church switch locations, he believed it took the "chance to unmask everyone's human fallibility." In analyzing the role of Ned Flanders, he wrote, "It is [the] willingness of The Simpsons to depict all the different sides of us [...] that makes it so rich and funny on our complicated relationship with religion." Trees are a motif in the film, and they were implemented in every important or emotional scene throughout the film. The animators inserted an apple tree behind Lisa and Colin during their initial meeting, which was a reference to the biblical figures of Adam and Eve and the Garden of Eden.
Cultural references
Many cultural references and allusions are made throughout the film. Green Day play "Nearer, My God, to Thee" on violins as their barge sinks, in a sequence parodying the film Titanic. When Bart is riding his skateboard naked, different passing objects are almost constantly covering his genitalia, a nod to similar techniques used in Austin Powers: International Man of Mystery. Homer and Marge's love scene parodies many Disney films, including Cinderella, with Disney-style animals helping them undress. Originally, the music from The Wizard of Oz was used in that scene, and the fawn had white spots; these were removed because the animators felt it resembled Bambi too clearly. Bart impersonates Mickey Mouse on the train, calling himself "the mascot of an evil corporation". Homer plays Grand Theft Walrus, an allusion to the video game series Grand Theft Auto. In the game, his character shoots a tap-dancing penguin in reference to the film Happy Feet. The "Spider-Pig" song is a parody of the theme song of the 1967 Spider-Man TV series, and the name of Lisa's lecture is An Irritating Truth, a play on Al Gore's film An Inconvenient Truth. The bomb disposal robot was based on Vincent D'Onofrio's character Leonard "Pyle" Lawrence from the film Full Metal Jacket, who commits suicide in a similar way. At the end of the film, the crowd's celebration is similar to the conclusion of Return of the Jedi, with Carl performing exactly the same hand gestures as Lando Calrissian.
The $1,000 Homer received when entering Alaska is a reference to the Alaska Permanent Fund Dividend. As Homer leaves Eski-Moe's he grabs on to a passing truck and uses it to propel himself back to the house, a tribute to actor Buster Keaton, while the epiphany scene features homages to the film Brazil and the works of Salvador Dalí. Hillary Clinton appears as Itchy's vice president, while an Orc from The Lord of the Rings appears in the mob scene. A scene that was cut had Marge and the kids appear on the TV talk show The View to spread the news of Springfield's impending doom. Parts were written for the show's entire panel and the scene was planned to feature Russ Cargill having a gunfight with Joy Behar. Another dropped scene featured Moe describing Springfield's varying physical states inside the dome, one of which was the Disneyland ride Autopia. There are several references to events in previous TV episodes of The Simpsons. These include the wreckage of the ambulance from the episode "Bart the Daredevil" crashed into a tree next to Springfield Gorge. The Carpenters' song "(They Long to Be) Close to You" was used in Homer and Marge's wedding video and had also been used in several emotional moments between them in the TV series.
Release
Theatrical
On April 1, 2006, 20th Century Fox announced that the film would be released worldwide on July 27, 2007. The film was released a day earlier in Australia and the United Kingdom. Little information about the plot was released in the weeks building up to the film's release. Groening did not feel that "people look in the TV section of the newspaper and think, 'I'll watch this week's Simpsons because I like the plot.' You just tune in and see what happens."
Fox held a competition among 16 Springfields across the United States to host the American premiere. Each Springfield produced a film, explaining why their town should host the premiere, with the results being decided via a vote on the USA Today website. Springfield, Minnesota dropped out on May 31, 2007. The winner was announced on July 10 to be Springfield, Vermont. The town beat Springfield, Illinois by 15,367 votes to 14,634. Each of the other 14 entrants held their own smaller screenings of the film on July 26. Springfield, Vermont hosted the world premiere of the film on July 21 with a yellow carpet instead of the traditional red.
The film was rated PG-13 by the Motion Picture Association of America for "irreverent humor throughout"; the production staff had expected this rating. However, the British Board of Film Classification passed the film as a PG with no cuts made. A BBFC spokeswoman said regarding Bart's brief nude scene, "natural nudity with no sexual content is acceptable in PG films". The film was banned in Myanmar, not for the scene of nudity, but for the excessive use of the colors yellow and red, which is prohibited in the country.
Marketing
The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion.
Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away.
McFarlane Toys released a line of action figures based on the film while EA Games released The Simpsons Game to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system.
Home media
The film was released on DVD and Blu-ray Disc worldwide on December 3, 2007, and on December 18 in the United States. It contains commentary tracks from both the producers and animators, six short deleted scenes, and a selection of material used to promote the film release. An unfinished deleted scene of the townspeople singing the Springfield Anthem was also included on The Simpsons The Complete Tenth Season DVD box set.
Promotions for the DVD release occurred across the United States. The Empire State Building was illuminated yellow, the first time the building had ever been used as part of a film promotion. In the United Kingdom, Fox launched a £5 million advertising campaign. They also signed a £1.6 million deal with the yogurt company Yoplait, to produce a The Simpsons Movie design for their brand Frubes. In its first week it topped the U.S. DVD chart, and generated $11.8 million in rental revenue.
The Simpsons Movie was included on Disney+ on November 12, 2019.
Reception
Critical reception
On Rotten Tomatoes, the film has an approval rating of 87% based on 223 reviews and an average rating of 7.5/10. The site's critical consensus reads, "The Simpsons Movie contains the hearty laughs, biting satire, and honest portrayal of an American family that makes the show so popular. And it boasts slicker animation and polished writing that hearkens back to the show's glory days." On Metacritic, it received a score of 80 out of 100, based on 36 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.
British newspapers The Guardian and The Times both gave the film four out of five stars. The Times' James Bone said that it "boasts the same sly cultural references and flashes of brilliance that have earned the television series a following that ranges from tots to comparative literature PhDs". The Guardian's Peter Bradshaw stated that it "gives you everything you could possibly want" and that he thought, "Eighty-five minutes [was] not long enough to do justice to 17 years of comedy genius". Ed Gonzalez praised the film for its political message, likening the Itchy & Scratchy cartoon at the beginning to President Schwarzenegger's situation later on, as well as the film's visual gags. Randy Shulman praised the cast, and described them as having "elevated their vocal work to a craft that goes way beyond simple line readings", and particularly praised Kavner who he said "gave what must be the most heartfelt performance ever". Roger Ebert gave a positive review of three out of four stars, but admitted he was "generally [not] a fan of movies spun off from TV animation". He called it "radical and simple at the same time, subversive and good-hearted, offensive without really meaning to be". Richard Corliss of Time said that the film "doesn't try to be ruder or kinkier, just bigger and better".
USA Today film critic Claudia Puig said that the story did "warrant a full-length feature, thanks to a clever plot and non-stop irreverent humor". Patrick Kolan believed that the film was "easily the best stuff to come [from the Simpsons] since season 12 or 13" and praised the animation, but also said that the appearances of characters such as Comic Book Guy and Seymour Skinner were "small and unfunny". Kirk Honeycutt of The Hollywood Reporter praised the film's good nature, stating that the laughs "come in all sizes", but also noted that, "little has been gained bringing the Simpsons to the screen."
Variety's Brian Lowry called it "clever, irreverent, satirical and outfitted" but that it was "just barely" capable of sustaining a running time longer than a television episode. Lisa Schwarzbaum praised the voice cast but stated that the "'action' sequences sometimes falter". When comparing the film to the early episodes of the show, Stephen Rowley concluded that the film "has more going for it than the show in its later years, but is still a long way short of what made it so invigorating". The Monthly critic Luke Davies echoed Lowry's concerns about the length: "everything moves with the whip-crack speed of a half-hour episode. And that's the paradox: it makes the film feel like three episodes strung together. We're in a cinema, and we expect something epic." He opined that "in the great arc that is the history of The Simpsons, this film will come to be seen as oddity rather than apotheosis."
More negative reception came from the magazine Empire, where reviewer Ian Nathan compared the film to New Coke, saying that "it utterly failed". Phil Villarreal believed that there were "too few laugh-worthy moments" and that "instead of stretching to new frontiers, the film rests on the familiar". Sheila Johnston criticized the pacing of the film and its joke level saying that "the overall momentum flags at times" and that it was "a salvo of comic squibs, some very funny, others limp". David Edwards agreed with this, writing that although "there's a great half-hour show rattling around...the rest is padding at its very dullest", concluding that it "isn't a terrible film, just a terribly disappointing one." Cosmo Landesman believed, "the humour seem[ed] to have lost its satirical bite and wit" and that "much of the comedy is structured around the idiocy of Homer". This assessment was shared by Carina Chocano of the Los Angeles Times, who felt that "once the movie wanders into its contemplation of mortality and meaning, the trenchancy kind of creaks and falls off." She negatively compared it to South Park: Bigger, Longer & Uncut (1999), a film similarly adapted from an animated television series, saying that, in terms of satire, it offers "nothing we don't hear every night on The Daily Show with Jon Stewart." Bruce Newman criticized the fleeting appearances of many of the show's secondary characters, and found the film to be "a disappointment".
Box office
The film earned $30,758,269 on its opening day in the U.S. making it the 25th-highest, and fifth-highest non-sequel opening day revenue of all time. It grossed a combined total of $74,036,787 in its opening weekend on 5,500 screens at 3,922 theaters, reaching the top of the box office for that weekend. This made it the tenth-highest revenue of all time, for an opening weekend in July, and highest among non-sequels, and the highest animated TV adaptation of all time. This outperformed the expectations of $40 million that Fox had for the release.
It set several American box office records, including highest grossing opening weekend for a non-CG animated film and for a film based on a television series, surpassing Mission: Impossible 2. It was also the third-highest grossing opening weekend for an animated film. It opened at the top of the international box office taking $96 million from 71 overseas territories, including $27.8 million in the United Kingdom, the second-highest UK opening ever for a 20th Century Fox film. It contributed to over half of the record 5.5 million people attending British cinemas that weekend. In Australia, it grossed $13.2 million, the third-highest opening weekend in the country, and the highest for an animated film. The United Kingdom is the highest-grossing country for the film outside the US with a $78.4 million gross overall, with Germany in second place with a $36.3 million gross overall. The film closed on December 20, 2007 with a gross of $183.1 million in the United States and Canada and a worldwide gross of $536.4. It was the eighth-highest-grossing film worldwide and the twelfth-highest grossing in the United States and Canada of 2007.
Accolades
The Simpsons Movie won the award for Best Comedy Film at the British Comedy Awards, Best Animation at the inaugural ITV National Movie Awards, and Best Movie at the UK Nickelodeon Kids Choice Awards, beating Harry Potter and the Order of the Phoenix, Pirates of the Caribbean: At World's End, and Shrek the Third. The film's trailer won a Golden Trailer Award in the category Best Animated/Family Film Trailer at the 8th Annual Golden Trailer Awards. Forbes named the film the third best of the year, based on its box office takings and Metacritic critical response score. The film's website received a Webby Award at the 12th Annual Webby Awards in the category "Best Movie and Film Website".
At the 35th Annie Awards the film was nominated in four categories: Best Animated Feature, Directing in an Animated Feature Production, Writing in an Animated Feature Production, and Voice Acting in an Animated Feature Production for Julie Kavner. All four awards were won by Ratatouille. It was nominated for Best Animated Feature Film at the 65th Golden Globe Awards, the BAFTA for Best Animated Film, and the Producers Guild Award for Animated Theatrical Motion Picture. It also received nominations for the Satellite Award for Best Animated or Mixed Media Feature, the Chicago Film Critics Association Award for Best Animated Feature, and the Broadcast Film Critics Association Award for Best Animated Feature.
Before its release, the film received a nomination at the 2007 MTV Movie Awards for "Best Summer Movie You Haven't Seen Yet", with the award ultimately won by Transformers, and lost the Teen Choice Award for "Choice Summer Movie – Comedy/Musical", which was won by Hairspray. It was also nominated for Favorite Movie Comedy at the People's Choice Awards, losing to Knocked Up.
Planned sequel
In 2014, Brooks stated that he had been approached by Fox and that they had requested a second film. He added that there were no immediate plans, stating, "We've been asked to [develop it], but we haven't. We're doing a lot of other stuff." In December 2014, just prior to the broadcast of the episode "The Man Who Came to Be Dinner", Jean wrote on Twitter that the episode (which had been produced in 2012 and was originally set to air in May 2013) had been held back by himself and Brooks because it was being considered for adaptation into a sequel film as the episode was "cinematic". Jean later expanded that there was the fear of the potential film being considered "not canonical" with the TV series and the potential backlash of overcoming it by using a "memory wipe". In July 2017, Silverman and Jean said that the sequel was in the early stages of development and stressed the toll production of the first picture took on the entire staff. On August 10, 2018, it was reported that a sequel is in development. On July 22, 2019, Groening stated that he has "no doubts" that Disney will likely produce a sequel one day. In July 2021, Jean stated that discussions for the potential sequel had stalled due to the COVID-19 pandemic.
References
External links
2007 films
2007 animated films
2007 comedy films
2007 directorial debut films
2000s American animated films
20th Century Fox animated films
20th Century Fox Animation films
20th Century Fox films
American adult animated films
American films
American animated comedy films
Animated comedy films
Animated films based on animated series
Animated films based on animated television series
Animated films set in the United States
The Simpsons
English-language films
Films about dysfunctional families
Films directed by David Silverman
Films produced by James L. Brooks
Films produced by Matt Groening
Films scored by Hans Zimmer
Films set in fictional populated places
Films with screenplays by James L. Brooks
Films with screenplays by John Swartzwelder
Films with screenplays by Matt Groening
Fox Television Animation films
Gracie Films films
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"Hipertensão is the Brazilian version of Fear Factor, which premiered April 14, 2002 on the Rede Globo television network.\n\nThe original Dutch version was called Now or Neverland. The show pits contestants against each other to complete a series of stunts better and/or quicker than all the other contestants, by doing this in the fastest time, for a grand prize.\n\nThe show was hosted by journalist Zeca Camargo in season 1 and was hosted by Glenda Kozlowski in seasons 2 and 3.\n\nShow Format\n\nSeason 1: Hipertensão\n\nThe season 1 format involved three men and three women, who had to complete three professional stunts to win R$50,000. If a contestant was too scared to attempt a stunt, failed to complete a stunt, or (in some cases) had the worst performance on a stunt, it was eliminated from the competition.\n\nSeason 2: Hipertensão X\n\nThe season 2 format was similar to Fear Factor Extreme (FFX) instead of the original \"three-stunt, one winner per episode\" format used in the first season. Season 2 was consists of multiple sets of stunts and a set number of contestants over a period of weeks.\n\nSeason 3: Hipertensão 2011\n\nIt keeps the format of the second season. The third season of Hipertensão debuted in September 2011.\n\nStunts\nThe order of the stunts on a typical episode of Hipertensão is as follows:\n\nStunt 1\nThe first stunt was designed to physically test each of the contestants. Usually, the two men and the two women, or the three teams, that gave the best performance would move on to the second stunt.\n\nStunt 2\nThe second stunt was meant to mentally challenge the contestants. The three most common types of stunts in the second round were eating stunts, animal stunts, and retrieval stunts. Eating stunts entailed ingesting vile animal parts, live bugs, or a blended concoction of multiple gross items; animal stunts entailed immersing one's head or entire body in animals considered to be disgusting or intimidating (such as rats, snakes, or worms).\n\nStunt 3\nThe third and final stunt was usually something from an extreme type of stunt seen in an action film. Like the first stunt, it usually involved heights, water, vehicles, or some combination of the three. In order to avoid ties, this stunt was always competitive. The player with the best performance this round would win the grand prize (R$50,000 in season 1).\n\nCelebrity Special\n\nA special spin-off called Hipertensão: Celebrity Special aired a week after the season finale on Sunday, May 12, 2002 at 11:00PM.\n\nThis episode featured six celebrity contestants competing for charity. The winner would receive R$50,000 for their charity. In the end, volleyball player Tande came out as the winner.\n\nThe Celebrities\n\n(ages stated at time of contest)\n\nIn Stunt 1, the contestants were hung at 100 feet in the air. and had to hit a moving target. In Stunt 2, the contestants had to separate with your hands as many belly white snakes, lying in a magazine with 10,000 worms in their legs and 5000 cockroaches in their heads. In Stunt 3, underwater, the contestants would have to leave as soon as possible in a padlocked cage, then swim to a buoy.\n\nReferences\n\nExternal links\n\n \nRede Globo original programming\nStunts\n2002 Brazilian television series debuts\n2011 Brazilian television series endings\n2000s Brazilian television series\n2010s Brazilian television series",
"The Many, formerly known as Mistress, is an independent creative and strategic advertising agency based in Los Angeles, California and Hamburg, Germany.\n\nHistory\n\nThe Many (then known as Mistress) was founded in Venice Beach in February 2010 by five partners: Christian Jacobsen, Damien Eley, Scott Harris, Blake E. Marquis and Jens Stoelken. After merging with media agency, Supermoon, former CEO, Amir Haque, became the newly-integrated agency's sixth partner.\n\nThe Many's work has been widely covered in the press, especially their campaigns for Mattel's Hot Wheels in which race car professionals performed stunts on life-size re-creations of toy Hot Wheels tracks (V-Drop, Double Loop, Corkscrew etc.) at the ESPN X Games, the “Fearless at the 500” event at the Indianapolis Motor Speedway, and for The World's Best Driver, a feature-length web film. The stunts set Guinness World Records and won four Lions at the Cannes Advertising Festival in 2013, one gold and three silver.\n\nThe Many has co-founded Neato, a collegiate marketing agency run by former Red Bull marketing executive Mike Poznansky. In 2014, the agency also co-founded Mistress.tech, a software agency in Hamburg, Germany with the German software developer Freiheit.com.\n\nIn 2011, The Many was named an Advertising Age Small Agency of the Year, winning a Gold award. In 2017, it merged with 2014 Ad Age Agency of the Year, Supermoon (formerly Tiny Rebellion), and in 2018, won Small Agency of the Year, silver.\n\nReferences\n\nAdvertising agencies of the United States"
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"The Simpsons Movie",
"Marketing",
"how much did marketing cost?",
"The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million.",
"Was there any stunts in marketing?",
"Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion."
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C_d89de81934a1413f801b02acd1dedcf4_1
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Are there any other interesting aspects about this article?
| 3 |
Other than marketing stunts for The Simpsons Movie, are there any other interesting aspects about this article?
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The Simpsons Movie
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The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion. Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away. McFarlane Toys released a line of action figures based on the film, EA Games released The Simpsons Game, to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system. CANNOTANSWER
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20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand
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The Simpsons Movie is a 2007 American animated comedy film based on the long-running animated sitcom The Simpsons. The film was directed by the show's supervising director David Silverman and stars the show's regular cast of Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Harry Shearer, Tress MacNeille, Pamela Hayden, Karl Wiedergott, Marcia Wallace, Maggie Roswell, Russi Taylor, Joe Mantegna, and Albert Brooks. The film follows Homer Simpson, who irresponsibly pollutes the lake in Springfield, causing the Environmental Protection Agency (EPA) to imprison the town under a giant glass dome. After he and his family escape, they ultimately abandon Homer for his selfishness and return to Springfield to prevent the town’s demolition by Russ Cargill, head of the EPA. Homer works to redeem his folly by returning to Springfield himself in an effort to save it.
Although previous attempts to create a Simpsons film had been made, they failed due to the lack of lengthy script and production crew members. Eventually in 2001, producers James L. Brooks, Matt Groening, Al Jean, Mike Scully and Richard Sakai began development of the film and a writing team consisting of Brooks, Groening, Jean, Scully, Ian Maxtone-Graham, George Meyer, David Mirkin, Mike Reiss, Matt Selman, John Swartzwelder and Jon Vitti was assembled. They conceived numerous plot ideas, with Groening's being the one adapted. The script was rewritten over a hundred times, also continuing after work on the animation began in 2006. Consequently, hours of finished material was cut from the final release, including cameo roles from Erin Brockovich, Minnie Driver, Isla Fisher, and Edward Norton (as well as Kelsey Grammer, who would have reprised his role as Sideshow Bob). Tom Hanks and the members of Green Day voice their own animated counterparts in the final cut of the film, while Albert Brooks, a frequent guest performer on the series, provides the voice of its main antagonist, Russ Cargill.
Tie-in promotions were made with several companies to promote the film's release, including Burger King and 7-Eleven, the latter of which transformed selected stores into Kwik-E-Marts. The film premiered in Springfield, Vermont on July 21, 2007 and was released theatrically six days later by 20th Century Fox across the United States. The Simpsons Movie received positive reviews and grossed $536.4 million worldwide, became the eighth highest-grossing film of 2007, the second highest-grossing traditionally animated film (behind Walt Disney Animation Studios' The Lion King), and the highest-ever grossing film based on an animated television series. The film received praise for its humor, emotional weight, and callbacks to early seasons. The film was nominated for numerous awards, including a Golden Globe Award for Best Animated Feature Film at the 65th Golden Globe Awards.
Plot
One summer on Lake Springfield, Green Day, after finishing a concert, try to engage the audience in a discussion about the environment, angering the audience into throwing garbage at them, causing the pollution in the lake to erode and sink the band's barge, drowning them. During their memorial at Reverend Lovejoy's church, Grampa Simpson has a spiritual experience and frantically prophesies that a disaster will befall Springfield, but only Marge takes it seriously. Concerned about the terrible state of the environment, Lisa and her new love interest, Colin, hold a seminar where they successfully convince Mayor Quimby to tell the town to clean up the lake. Meanwhile, after a series of dares, including one with Bart skateboarding across Springfield naked and getting in trouble with Chief Wiggum, Homer and Bart go to Krusty Burger, where Homer adopts a pig that Krusty the Clown was about to have killed. Marge, identifying the pig as a part of Grampa's prophecy, warns Homer to get rid of it, but Homer refuses. Homer's fawning over the pig makes Bart, now fed up with his father's carelessness, look to their neighbor, Ned Flanders, as a father figure.
Homer stores the pig's feces in an overflowing silo, disgusting Marge. Homer attempts to dispose of it safely at Marge's request, but his friend Lenny calls him to inform him about Lard Lad Donuts giving away all their donuts for free due to failing a health inspection. In a rush to get to the giveaway, Homer dumps the silo in the lake, critically polluting it. Moments later, a squirrel stumbles into it and becomes severely mutated. While bonding on a hike, Bart and Flanders notice the squirrel, which the EPA capture. Russ Cargill, head of the EPA, informs President Arnold Schwarzenegger on Springfield's pollution crisis and presents five solutions. Without reading them, the president randomly picks the third solution: imprisoning Springfield under a giant glass dome. When Homer's silo is discovered, the townspeople, including Grampa, the school staff, the Simpsons' friends and neighbors, except for the Flanders and Colin, form an angry mob, ransack their house and attempt to lynch them. The family escapes through a sinkhole that Homer hid using Maggie's sandbox, which destroys the house soon after. The family flees to Alaska using a truck that Lisa helps Homer win at a contest, where they try to restart their life.
Within ninety three days, Springfield completely exhausts its daily supplies and the townspeople go crazy as they attempt to escape from the dome using brute force to destroy it, causing cracks to form. Cargill, not wanting news of what he has done to spread around the world, plots to destroy Springfield by tricking the president into choosing a solution that involves its demolition. The Simpsons see a television advertisement for a new Grand Canyon on the site of Springfield. Realizing that their hometown is in danger, the family decide to save it except for Homer, who objects to helping the people who had turned on them. The family soon abandons Homer for his selfishness, with Marge leaving behind a recorded video about it, causing him to run off in search of them. The family are captured by the EPA and placed back inside the dome. After an encounter with a mysterious Inuit shaman who saves him from a polar bear, Homer has an epiphany about saving the town in order to save himself.
Homer returns home and learns about his family's capture as a helicopter lowers a time bomb suspended by a rope through a hole at the top of the dome. Homer enters the dome and descends the rope, knocking the escaping townspeople and the bomb off, inadvertently shortening its countdown, much to the townspeople's anger. After reuniting and reconciling with Bart, they use a motorcycle to travel up the side of the dome and throw the bomb through the hole seconds before it detonates, shattering the dome and freeing the town. Homer and Bart land safely at Springfield Gorge where a shotgun-wielding Cargill confronts them and attempts to shoot them for foiling his plan. But before he can do so, Maggie knocks him out by dropping a large rock on his head. The townspeople praise and forgive Homer, who reconciles with Marge as Springfield begins restoration.
Cast
Dan Castellaneta as Homer Simpson, Abe Simpson, Krusty the Clown, Groundskeeper Willie, Mayor Quimby, Sideshow Mel, Mr. Teeny, EPA Official, Itchy, Barney Gumble, Stage Manager, Blue Haired Lawyer, Multi-Eyed Squirrel, Hans Moleman, Panicky Man, Kissing Cop, Bear, Boy on Phone, NSA Worker, Officer, Rich Texan, Santa's Little Helper, and Squeaky-Voiced Teen
Julie Kavner as Marge Simpson, Selma Bouvier, and Patty Bouvier
Nancy Cartwright as Bart Simpson, Ralph Wiggum, Todd Flanders, Nelson Muntz, Maggie Simpson, TV Daughter, Woman on Phone, and Kearney Zzyzwicz
Yeardley Smith as Lisa Simpson
Hank Azaria as Moe Szyslak, Chief Wiggum, Cletus Spuckler, Professor Frink, Apu Nahasapeemapetilon, Lou, Comic Book Guy, Captain McCallister, Bumblebee Man, Dr. Nick, Carl, Male EPA Worker, Dome Depot Announcer, Kissing Cop, Carnival Barker, Gas Station Clerk, Drederick Tatum, EPA Passenger, Robot, and Wiseguy
Harry Shearer as Mr. Burns, Smithers, Ned Flanders, Reverend Lovejoy, Lenny, President Arnold Schwarzenegger, Seymour Skinner, Kent Brockman, Dr. Hibbert, Otto Mann, Scratchy, Skull, Toll Booth Operator, and Guard
Pamela Hayden as Milhouse Van Houten, Rod Flanders, and Jimbo Jones
Tress MacNeille as Medicine Woman, Agnes Skinner, Crazy Cat Lady, Colin, Cookie Kwan, Sweet Old Lady, Mrs. Muntz, Plopper, Female EPA Worker, Lindsey Neagle, GPS Voice, TV Son, Girl on Phone, and Dolph Starbeam
Albert Brooks (as "A. Brooks") as Russ Cargill
Karl Wiedergott as EPA Officer and Man
Marcia Wallace as Edna Krabappel (scenes deleted)
Russi Taylor as Martin Prince
Maggie Roswell as Helen Lovejoy and Miss Hoover
Phil Rosenthal as TV Dad
Billie Joe Armstrong, Frank Edwin Wright III, and Michael Pritchard as Green Day (themselves)
Joe Mantegna as Fat Tony
Tom Hanks as himself
Additional voices are done by Castellaneta, Kavner, Cartwright, Smith, Azaria, Shearer, Hayden, MacNeille, Wiedergott, Wallace, Taylor, and Roswell
Production
Development
The production staff had considered a film adaptation of The Simpsons since early in the series. The show's creator, Matt Groening, felt a feature-length film would allow them to increase the show's scale and animate sequences too complex for the TV series. He intended the film to be made after the show ended, "but that [...] was undone by good ratings". There were attempts to adapt the fourth season episode "Kamp Krusty" into a film, but difficulties were encountered in expanding the episode to feature-length. For a long time the project was held up. There was difficulty finding a story that was sufficient for a film, and the crew did not have enough time to complete such a project, as they already worked full-time on the show. Groening also expressed a wish to make Simpstasia, a parody of Fantasia; it was never produced, partly because it would have been too difficult to write a feature-length script. At another point, it was briefly suggested to do an anthology-style Treehouse of Horror film, but such suggestion was never pursued. Recurring guest performer Phil Hartman had wished to make a live-action film based on his character Troy McClure; several of the show's staff expressed a desire to help create it, and Josh Weinstein proposed to use the plot of the 1996 episode "A Fish Called Selma" for the film, but the project was cancelled following Hartman's death in 1998.
The voice cast was signed on to do the film in 2001, and work then began on the script. The producers were initially worried that creating a film would have a negative effect on the series, as they did not have enough crew to focus their attention on both projects. As the series progressed, additional writers and animators were hired so that both the show and the film could be produced at the same time. Groening and James L. Brooks invited back Mike Scully and Al Jean (who continued to work as showrunner on the television series) to produce the film with them. They then signed David Silverman (who, in anticipation of the project, had quit his job at Pixar) to direct the film. The "strongest possible" writing team was assembled, with many of the writers from the show's early seasons being chosen. David Mirkin, Mike Reiss, George Meyer, John Swartzwelder, and Jon Vitti were selected. Ian Maxtone-Graham and Matt Selman joined later, and Brooks, Groening, Scully, and Jean also wrote parts of the script. Sam Simon did not return having left the show over creative differences in 1993. Former writer Conan O'Brien expressed interest in working with the Simpsons staff again, although he later joked that "I worry that the Simpsons-writing portion of my brain has been destroyed after 14 years of talking to Lindsay Lohan and that guy from One Tree Hill, so maybe it's all for the best." The same went for director Brad Bird who said he had "entertained fantasies of asking if [he] could work on the movie", but did not have enough time due to work on Ratatouille. The producers arranged a deal with Fox that would allow them to abandon production of the film at any point if they felt the script was unsatisfactory.
Work continued on the screenplay from late 2003 onwards, taking place in the small bungalow where Groening first pitched The Simpsons in 1987. The writers spent six months discussing a plot, and each of them offered sketchy ideas. On their first brainstorming session, Scully suggested a story in which Steven Spielberg (intended to be voiced by Spielberg himself) would try to blow up Springfield so he can shoot a film with Tom Hanks (who ultimately made a guest appearance voicing himself in the finished film). It was also on this same reunion that Groening introduced the idea of Homer adopting a pet pig, inspired by a pig-waste management story he had read in the news. Jean suggested the family rescue manatees, which became the 2005 episode "The Bonfire of the Manatees", and there was also a notion similar to that of The Truman Show where the characters discovered their lives were a TV show. Groening rejected this, as he felt that the Simpsons should "never become aware of themselves as celebrities", but the idea was later used in the video game The Simpsons Game. Groening read about a town that had to get rid of pig feces in their water supply, which inspired the plot of the film. The decision for Flanders to have an important role also came early on, as Jean wished to see Bart wonder what his life would be like if Flanders were his father. Hank Scorpio, a character from the 1996 episode "You Only Move Twice", was originally meant to return as the main antagonist, but the staff dropped the idea and created Russ Cargill instead. Having eventually decided on the basic outline of the plot for the film, the writers then separated it into seven sections. Jean, Scully, Reiss, Swartzwelder, Vitti, Mirkin, and Meyer wrote 25 pages each, and the group met one month later to merge the seven sections into one "very rough draft". The film's script was written in the same way as the television series: the writers sitting around a table, pitching ideas, and trying to make each other laugh. The script went through over 100 revisions, and at one point the film was a musical. However, the songs were continually being shortened and the idea was dropped. Groening described his desire to also make the film dramatically stronger than a TV episode, saying that he wanted to "give you something that you haven't seen before".
Animation
Animation for the film began in January 2006, with the Itchy & Scratchy short being the first scene to be storyboarded. Groening rejected making either a live-action or a CGI film, calling the film's animation "deliberately imperfect" and "a tribute to the art of hand-drawn animation". The film was produced in a widescreen 2.40:1 aspect ratio, to distinguish it from the look of the television series, and colored with the largest palette the animators ever had available to them. A lot of the animation was produced using Wacom Cintiq tablets, which allowed images to be drawn directly onto a computer monitor to facilitate production. Animation production work was divided among four studios around the world: Film Roman in Burbank, California, Rough Draft Studios in Glendale, California, and AKOM and Rough Draft's division in Seoul, South Korea. As with the television series, the storyboarding, characters, background layout, and animatic parts of production, were done in America. The overseas studios completed the inbetweening, digital ink and paint, and rendered the animation to tape before being shipped back to the United States.
Director David Silverman said that unlike the TV series where "you [have] to pick and choose", the film gave them the opportunity to "lavish that attention [on] every single scene". The characters have shadows, unlike in the show. Silverman and the animators looked to films such as The Incredibles, The Triplets of Belleville, and Bad Day at Black Rock for inspiration, as they were "a great education in staging because of how the characters are placed". They also looked for ideas for a dream sequence, in Disney films such as Dumbo and the Pluto cartoon Pluto's Judgment Day and for crowd scenes in It's a Mad, Mad, Mad, Mad World. Silverman looked at some of the Simpsons episodes he had directed, primarily his two favorites, "Homie the Clown" and "Three Men and a Comic Book". Mike B. Anderson, Lauren MacMullan, Rich Moore and Steven Dean Moore each directed the animation for around a quarter of the film under Silverman's supervision, with numerous other animators working on scenes.
Casting
For inspiration for the crowd scenes in the film, the production staff referenced a poster featuring more than 320 Simpsons characters. Groening said they tried to include every single character in the film, with 98 having speaking parts, and most members of the crowds being previously established characters instead of generic people. The series' regular voice actors: Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria and Harry Shearer, as well as semi-regular performers Tress MacNeille, Pamela Hayden, Marcia Wallace, Maggie Roswell, Russi Taylor and Karl Wiedergott, reprised their roles. Joe Mantegna returned as Fat Tony, while Albert Brooks, who supplied many guest voices in episodes, was cast as the main antagonist Russ Cargill after he told the staff that he wanted to be part of the film. For "about a week", Brooks was to reprise the role of Hank Scorpio, but when the character was omitted from the film, he ended up voicing Cargill himself.
The cast did the first of three table readings in May 2005, and began recording every week from June 2006 until the end of production. James L. Brooks directed them for the first time since the television show's early seasons. Castellaneta found the recording sessions "more intense" than recording the television series and "more emotionally dramatic". Some scenes, such as Marge's video message to Homer, were recorded over one hundred times, leaving the voice cast exhausted.
The writers had written the opening concert scene without a specific band in mind. Green Day were cast in that role having requested to guest star in the show. Tom Hanks also appears as himself in the film and accepted the offer after just one phone call. Everybody Loves Raymond creator Philip Rosenthal provides the voice of the father in the "new Grand Canyon" commercial with Hanks. Due to time restraints, several guests who had recorded parts were cut from the film. Minnie Driver recorded the part of a patronizing grievance counselor in a scene that ended up being cut. Edward Norton recorded the part of the man who gets crushed as the dome is implemented, performing a Woody Allen impression. The staff felt the voice was too distracting, so Castellaneta re-recorded Norton's dialogue with a different voice. Isla Fisher and Erin Brockovich also recorded cameos, but their scenes were cut. Kelsey Grammer recorded lines for Sideshow Bob, who was to appear at several different points, but these scenes were also cut. Johnny Knoxville was also touted as a possible guest star.
Although he does not provide the voice, Arnold Schwarzenegger is president of the United States rather than then-President George W. Bush because, according to Groening, "in two years ... the film [would be] out of date". Brooks was nervous about the idea, noting that "[Schwarzenegger's] opinion polls were way down", and has said that they "were [hoping] he'd make a political comeback". The animators began by drawing an accurate caricature of Schwarzenegger, but one of the staff instead suggested an altered version of recurring character Rainier Wolfcastle as President. This idea was developed, with the design of Wolfcastle, himself also a caricature of Schwarzenegger, being given more wrinkles under his eyes and a different hairstyle.
Editing
Every aspect of the film was constantly analyzed, with storylines, jokes and characters regularly being rewritten. Although most animated films do not make extensive changes to the film during active production due to budget restrictions, The Simpsons Movie crew continued to edit their film into 2007, with some edits taking place as late as May, two months before the film was released. James L. Brooks noted, "70 percent of the things in [one of the trailers]—based on where we were eight weeks ago—are no longer in the movie." Groening said that enough material for two more films was cut. Various new characters were created, and then cut because they did not contribute enough. Originally Marge was the character who had the prophetic vision in church. The writers however considered this to be too dark and it was changed to Grampa. The role of Lisa's love interest Colin was frequently revised. He was previously named Dexter and Adrien, and his appearance was completely altered. One idea was to have Milhouse act as Lisa's love interest, but the writers realized "the audience was not as familiar with [his] long-standing crush on [Lisa] as [they had] thought". A car chase in which Homer throws flaming mummies out of a truck at the EPA was replaced with "more emotional and realistic" scenes at the motel and carnival that allowed for a change of pace. The scene of a naked Bart on his skateboard was Groening's idea, who had always wanted to have Bart skateboarding naked, and Scully had the idea of showing Bart's penis for two seconds. Storyboard Michael Archer was credited for devising the way to cover Bart's genitals with different things before they are exposed to the viewer. While the crew agreed that the gag would be funny, they wondered it if would mean an R-rating for the film, as they were happy with a PG-13 rating and that gag was nonsexual and silly. They were ultimately to get away with the joke because it wasn't live-action nor was it Homer's genitals.
Further changes were made after the March 2007 preview screenings of the film in Portland, Oregon and Phoenix, Arizona. This included the deletion of Kang and Kodos heavily criticizing the film during the end credits. A lot of people at the screenings found the original film too coarse, and some of Homer's behavior too unkind, so several scenes were toned down to make him appear nicer. Russ Cargill was redesigned several times, originally appearing as an older man whose speech patterns Albert Brooks based on Donald Rumsfeld. The older model was the one used by Burger King for the action figure. Cargill's scene with Bart and Homer at the film's conclusion was added in to fully resolve his story, and the "Spider-Pig" gag was also a late addition. One excised scene, before the dome is put over Springfield, had Mr. Burns reminding viewers that it was the last point in the film that they could get a refund. Other deletions included Homer's encounter with a sausage truck driver, which was featured on the DVD, a scene with Plopper the pig at the end, and a news report, showing the dome's effect on daily life in Springfield in areas such as farming and sport, was cut because it did not fit the overall context of the film. Several musical numbers, at various intervals throughout the film, were cut. These included a song about Alaska, featuring music by Dave Stewart of Eurythmics. Jean said it "got pretty far along in the animation, and then we got scared that the movie began to drag in that section."
Music
Producer James L. Brooks chose Hans Zimmer to compose the film's score, as they were good friends and regular collaborators. Zimmer felt that the score was a "unique challenge", and he had to "try and express the style of The Simpsons without wearing the audience out". He used Danny Elfman's original opening theme, but did not wish to overuse it. He created themes for each member of the family. Homer's leitmotif was a major focus, and Zimmer also composed smaller themes for Bart and Marge. Regular television series composer Alf Clausen was not asked to score the film, noting: "sometimes you're the windshield, sometimes you're the bug".
In addition to their appearance in the film, Green Day recorded its own version of the Simpsons theme, and released it as a single. Zimmer turned the Spider-Pig song into a choral piece, which was a joke he never intended to be put into the film. Zimmer also had to write foreign-language lyrics for the 32 dubbed versions of the song when the film was released internationally. He found translating the song into Spanish the hardest to write. The same choir learned to sing the piece for each of the foreign-language dubs.
Themes
Al Jean described the film's message as being "a man should listen to his wife". In addition, the film parodies two major contemporary issues, religion and environmentalism. The theme of environmentalism is present throughout the film: in Homer's polluting of Lake Springfield, Green Day's cameo, Lisa's activism and her romance with Colin. The villainous Russ Cargill is head of the Environmental Protection Agency. Reviewer Ed Gonzalez argued the plot was a satire of the government's reaction to the effects of Hurricane Katrina on New Orleans. Ian Nathan of Empire magazine criticized this focus, believing it gave the film an "overt political agenda [which] border[s] on polemic". James D. Bloom of Muhlenberg College commented on the "explicitness" of the film's "intellectual agenda", on this issue, shown particularly through Lisa. He wrote that the film's first post-opening credits scene, which sees Green Day fail in an attempt to engage their audience on the issue of the environment, "sets in motion a plot expressly built around cultural agenda-setting" and "reflection on timely 'issues'."
Religion is focused on in Grampa's momentary possession, and Marge believing what he said to be a message from God. Groening joked the film "posit[s] the existence of a very active God", when asked if he believed it was likely to offend. Mark I. Pinsky, author of The Gospel According to The Simpsons, said the film "treats genuine faith with respect, while keeping a sharp eye out for religious pretension and hypocrisy of all kinds". Regarding the scene where the tenants of Moe's Tavern and the Church switch locations, he believed it took the "chance to unmask everyone's human fallibility." In analyzing the role of Ned Flanders, he wrote, "It is [the] willingness of The Simpsons to depict all the different sides of us [...] that makes it so rich and funny on our complicated relationship with religion." Trees are a motif in the film, and they were implemented in every important or emotional scene throughout the film. The animators inserted an apple tree behind Lisa and Colin during their initial meeting, which was a reference to the biblical figures of Adam and Eve and the Garden of Eden.
Cultural references
Many cultural references and allusions are made throughout the film. Green Day play "Nearer, My God, to Thee" on violins as their barge sinks, in a sequence parodying the film Titanic. When Bart is riding his skateboard naked, different passing objects are almost constantly covering his genitalia, a nod to similar techniques used in Austin Powers: International Man of Mystery. Homer and Marge's love scene parodies many Disney films, including Cinderella, with Disney-style animals helping them undress. Originally, the music from The Wizard of Oz was used in that scene, and the fawn had white spots; these were removed because the animators felt it resembled Bambi too clearly. Bart impersonates Mickey Mouse on the train, calling himself "the mascot of an evil corporation". Homer plays Grand Theft Walrus, an allusion to the video game series Grand Theft Auto. In the game, his character shoots a tap-dancing penguin in reference to the film Happy Feet. The "Spider-Pig" song is a parody of the theme song of the 1967 Spider-Man TV series, and the name of Lisa's lecture is An Irritating Truth, a play on Al Gore's film An Inconvenient Truth. The bomb disposal robot was based on Vincent D'Onofrio's character Leonard "Pyle" Lawrence from the film Full Metal Jacket, who commits suicide in a similar way. At the end of the film, the crowd's celebration is similar to the conclusion of Return of the Jedi, with Carl performing exactly the same hand gestures as Lando Calrissian.
The $1,000 Homer received when entering Alaska is a reference to the Alaska Permanent Fund Dividend. As Homer leaves Eski-Moe's he grabs on to a passing truck and uses it to propel himself back to the house, a tribute to actor Buster Keaton, while the epiphany scene features homages to the film Brazil and the works of Salvador Dalí. Hillary Clinton appears as Itchy's vice president, while an Orc from The Lord of the Rings appears in the mob scene. A scene that was cut had Marge and the kids appear on the TV talk show The View to spread the news of Springfield's impending doom. Parts were written for the show's entire panel and the scene was planned to feature Russ Cargill having a gunfight with Joy Behar. Another dropped scene featured Moe describing Springfield's varying physical states inside the dome, one of which was the Disneyland ride Autopia. There are several references to events in previous TV episodes of The Simpsons. These include the wreckage of the ambulance from the episode "Bart the Daredevil" crashed into a tree next to Springfield Gorge. The Carpenters' song "(They Long to Be) Close to You" was used in Homer and Marge's wedding video and had also been used in several emotional moments between them in the TV series.
Release
Theatrical
On April 1, 2006, 20th Century Fox announced that the film would be released worldwide on July 27, 2007. The film was released a day earlier in Australia and the United Kingdom. Little information about the plot was released in the weeks building up to the film's release. Groening did not feel that "people look in the TV section of the newspaper and think, 'I'll watch this week's Simpsons because I like the plot.' You just tune in and see what happens."
Fox held a competition among 16 Springfields across the United States to host the American premiere. Each Springfield produced a film, explaining why their town should host the premiere, with the results being decided via a vote on the USA Today website. Springfield, Minnesota dropped out on May 31, 2007. The winner was announced on July 10 to be Springfield, Vermont. The town beat Springfield, Illinois by 15,367 votes to 14,634. Each of the other 14 entrants held their own smaller screenings of the film on July 26. Springfield, Vermont hosted the world premiere of the film on July 21 with a yellow carpet instead of the traditional red.
The film was rated PG-13 by the Motion Picture Association of America for "irreverent humor throughout"; the production staff had expected this rating. However, the British Board of Film Classification passed the film as a PG with no cuts made. A BBFC spokeswoman said regarding Bart's brief nude scene, "natural nudity with no sexual content is acceptable in PG films". The film was banned in Myanmar, not for the scene of nudity, but for the excessive use of the colors yellow and red, which is prohibited in the country.
Marketing
The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion.
Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away.
McFarlane Toys released a line of action figures based on the film while EA Games released The Simpsons Game to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system.
Home media
The film was released on DVD and Blu-ray Disc worldwide on December 3, 2007, and on December 18 in the United States. It contains commentary tracks from both the producers and animators, six short deleted scenes, and a selection of material used to promote the film release. An unfinished deleted scene of the townspeople singing the Springfield Anthem was also included on The Simpsons The Complete Tenth Season DVD box set.
Promotions for the DVD release occurred across the United States. The Empire State Building was illuminated yellow, the first time the building had ever been used as part of a film promotion. In the United Kingdom, Fox launched a £5 million advertising campaign. They also signed a £1.6 million deal with the yogurt company Yoplait, to produce a The Simpsons Movie design for their brand Frubes. In its first week it topped the U.S. DVD chart, and generated $11.8 million in rental revenue.
The Simpsons Movie was included on Disney+ on November 12, 2019.
Reception
Critical reception
On Rotten Tomatoes, the film has an approval rating of 87% based on 223 reviews and an average rating of 7.5/10. The site's critical consensus reads, "The Simpsons Movie contains the hearty laughs, biting satire, and honest portrayal of an American family that makes the show so popular. And it boasts slicker animation and polished writing that hearkens back to the show's glory days." On Metacritic, it received a score of 80 out of 100, based on 36 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.
British newspapers The Guardian and The Times both gave the film four out of five stars. The Times' James Bone said that it "boasts the same sly cultural references and flashes of brilliance that have earned the television series a following that ranges from tots to comparative literature PhDs". The Guardian's Peter Bradshaw stated that it "gives you everything you could possibly want" and that he thought, "Eighty-five minutes [was] not long enough to do justice to 17 years of comedy genius". Ed Gonzalez praised the film for its political message, likening the Itchy & Scratchy cartoon at the beginning to President Schwarzenegger's situation later on, as well as the film's visual gags. Randy Shulman praised the cast, and described them as having "elevated their vocal work to a craft that goes way beyond simple line readings", and particularly praised Kavner who he said "gave what must be the most heartfelt performance ever". Roger Ebert gave a positive review of three out of four stars, but admitted he was "generally [not] a fan of movies spun off from TV animation". He called it "radical and simple at the same time, subversive and good-hearted, offensive without really meaning to be". Richard Corliss of Time said that the film "doesn't try to be ruder or kinkier, just bigger and better".
USA Today film critic Claudia Puig said that the story did "warrant a full-length feature, thanks to a clever plot and non-stop irreverent humor". Patrick Kolan believed that the film was "easily the best stuff to come [from the Simpsons] since season 12 or 13" and praised the animation, but also said that the appearances of characters such as Comic Book Guy and Seymour Skinner were "small and unfunny". Kirk Honeycutt of The Hollywood Reporter praised the film's good nature, stating that the laughs "come in all sizes", but also noted that, "little has been gained bringing the Simpsons to the screen."
Variety's Brian Lowry called it "clever, irreverent, satirical and outfitted" but that it was "just barely" capable of sustaining a running time longer than a television episode. Lisa Schwarzbaum praised the voice cast but stated that the "'action' sequences sometimes falter". When comparing the film to the early episodes of the show, Stephen Rowley concluded that the film "has more going for it than the show in its later years, but is still a long way short of what made it so invigorating". The Monthly critic Luke Davies echoed Lowry's concerns about the length: "everything moves with the whip-crack speed of a half-hour episode. And that's the paradox: it makes the film feel like three episodes strung together. We're in a cinema, and we expect something epic." He opined that "in the great arc that is the history of The Simpsons, this film will come to be seen as oddity rather than apotheosis."
More negative reception came from the magazine Empire, where reviewer Ian Nathan compared the film to New Coke, saying that "it utterly failed". Phil Villarreal believed that there were "too few laugh-worthy moments" and that "instead of stretching to new frontiers, the film rests on the familiar". Sheila Johnston criticized the pacing of the film and its joke level saying that "the overall momentum flags at times" and that it was "a salvo of comic squibs, some very funny, others limp". David Edwards agreed with this, writing that although "there's a great half-hour show rattling around...the rest is padding at its very dullest", concluding that it "isn't a terrible film, just a terribly disappointing one." Cosmo Landesman believed, "the humour seem[ed] to have lost its satirical bite and wit" and that "much of the comedy is structured around the idiocy of Homer". This assessment was shared by Carina Chocano of the Los Angeles Times, who felt that "once the movie wanders into its contemplation of mortality and meaning, the trenchancy kind of creaks and falls off." She negatively compared it to South Park: Bigger, Longer & Uncut (1999), a film similarly adapted from an animated television series, saying that, in terms of satire, it offers "nothing we don't hear every night on The Daily Show with Jon Stewart." Bruce Newman criticized the fleeting appearances of many of the show's secondary characters, and found the film to be "a disappointment".
Box office
The film earned $30,758,269 on its opening day in the U.S. making it the 25th-highest, and fifth-highest non-sequel opening day revenue of all time. It grossed a combined total of $74,036,787 in its opening weekend on 5,500 screens at 3,922 theaters, reaching the top of the box office for that weekend. This made it the tenth-highest revenue of all time, for an opening weekend in July, and highest among non-sequels, and the highest animated TV adaptation of all time. This outperformed the expectations of $40 million that Fox had for the release.
It set several American box office records, including highest grossing opening weekend for a non-CG animated film and for a film based on a television series, surpassing Mission: Impossible 2. It was also the third-highest grossing opening weekend for an animated film. It opened at the top of the international box office taking $96 million from 71 overseas territories, including $27.8 million in the United Kingdom, the second-highest UK opening ever for a 20th Century Fox film. It contributed to over half of the record 5.5 million people attending British cinemas that weekend. In Australia, it grossed $13.2 million, the third-highest opening weekend in the country, and the highest for an animated film. The United Kingdom is the highest-grossing country for the film outside the US with a $78.4 million gross overall, with Germany in second place with a $36.3 million gross overall. The film closed on December 20, 2007 with a gross of $183.1 million in the United States and Canada and a worldwide gross of $536.4. It was the eighth-highest-grossing film worldwide and the twelfth-highest grossing in the United States and Canada of 2007.
Accolades
The Simpsons Movie won the award for Best Comedy Film at the British Comedy Awards, Best Animation at the inaugural ITV National Movie Awards, and Best Movie at the UK Nickelodeon Kids Choice Awards, beating Harry Potter and the Order of the Phoenix, Pirates of the Caribbean: At World's End, and Shrek the Third. The film's trailer won a Golden Trailer Award in the category Best Animated/Family Film Trailer at the 8th Annual Golden Trailer Awards. Forbes named the film the third best of the year, based on its box office takings and Metacritic critical response score. The film's website received a Webby Award at the 12th Annual Webby Awards in the category "Best Movie and Film Website".
At the 35th Annie Awards the film was nominated in four categories: Best Animated Feature, Directing in an Animated Feature Production, Writing in an Animated Feature Production, and Voice Acting in an Animated Feature Production for Julie Kavner. All four awards were won by Ratatouille. It was nominated for Best Animated Feature Film at the 65th Golden Globe Awards, the BAFTA for Best Animated Film, and the Producers Guild Award for Animated Theatrical Motion Picture. It also received nominations for the Satellite Award for Best Animated or Mixed Media Feature, the Chicago Film Critics Association Award for Best Animated Feature, and the Broadcast Film Critics Association Award for Best Animated Feature.
Before its release, the film received a nomination at the 2007 MTV Movie Awards for "Best Summer Movie You Haven't Seen Yet", with the award ultimately won by Transformers, and lost the Teen Choice Award for "Choice Summer Movie – Comedy/Musical", which was won by Hairspray. It was also nominated for Favorite Movie Comedy at the People's Choice Awards, losing to Knocked Up.
Planned sequel
In 2014, Brooks stated that he had been approached by Fox and that they had requested a second film. He added that there were no immediate plans, stating, "We've been asked to [develop it], but we haven't. We're doing a lot of other stuff." In December 2014, just prior to the broadcast of the episode "The Man Who Came to Be Dinner", Jean wrote on Twitter that the episode (which had been produced in 2012 and was originally set to air in May 2013) had been held back by himself and Brooks because it was being considered for adaptation into a sequel film as the episode was "cinematic". Jean later expanded that there was the fear of the potential film being considered "not canonical" with the TV series and the potential backlash of overcoming it by using a "memory wipe". In July 2017, Silverman and Jean said that the sequel was in the early stages of development and stressed the toll production of the first picture took on the entire staff. On August 10, 2018, it was reported that a sequel is in development. On July 22, 2019, Groening stated that he has "no doubts" that Disney will likely produce a sequel one day. In July 2021, Jean stated that discussions for the potential sequel had stalled due to the COVID-19 pandemic.
References
External links
2007 films
2007 animated films
2007 comedy films
2007 directorial debut films
2000s American animated films
20th Century Fox animated films
20th Century Fox Animation films
20th Century Fox films
American adult animated films
American films
American animated comedy films
Animated comedy films
Animated films based on animated series
Animated films based on animated television series
Animated films set in the United States
The Simpsons
English-language films
Films about dysfunctional families
Films directed by David Silverman
Films produced by James L. Brooks
Films produced by Matt Groening
Films scored by Hans Zimmer
Films set in fictional populated places
Films with screenplays by James L. Brooks
Films with screenplays by John Swartzwelder
Films with screenplays by Matt Groening
Fox Television Animation films
Gracie Films films
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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"
] |
[
"The Simpsons Movie",
"Marketing",
"how much did marketing cost?",
"The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million.",
"Was there any stunts in marketing?",
"Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion.",
"Are there any other interesting aspects about this article?",
"20th Century Fox erected a \"giant pink donut\" in the town of Springfield in Canterbury, New Zealand"
] |
C_d89de81934a1413f801b02acd1dedcf4_1
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What other marketing schemes happened?
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What other marketing schemes happened besides erecting a donut in New Zealand's Springfield.
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The Simpsons Movie
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The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion. Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away. McFarlane Toys released a line of action figures based on the film, EA Games released The Simpsons Game, to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system. CANNOTANSWER
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in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station.
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The Simpsons Movie is a 2007 American animated comedy film based on the long-running animated sitcom The Simpsons. The film was directed by the show's supervising director David Silverman and stars the show's regular cast of Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Harry Shearer, Tress MacNeille, Pamela Hayden, Karl Wiedergott, Marcia Wallace, Maggie Roswell, Russi Taylor, Joe Mantegna, and Albert Brooks. The film follows Homer Simpson, who irresponsibly pollutes the lake in Springfield, causing the Environmental Protection Agency (EPA) to imprison the town under a giant glass dome. After he and his family escape, they ultimately abandon Homer for his selfishness and return to Springfield to prevent the town’s demolition by Russ Cargill, head of the EPA. Homer works to redeem his folly by returning to Springfield himself in an effort to save it.
Although previous attempts to create a Simpsons film had been made, they failed due to the lack of lengthy script and production crew members. Eventually in 2001, producers James L. Brooks, Matt Groening, Al Jean, Mike Scully and Richard Sakai began development of the film and a writing team consisting of Brooks, Groening, Jean, Scully, Ian Maxtone-Graham, George Meyer, David Mirkin, Mike Reiss, Matt Selman, John Swartzwelder and Jon Vitti was assembled. They conceived numerous plot ideas, with Groening's being the one adapted. The script was rewritten over a hundred times, also continuing after work on the animation began in 2006. Consequently, hours of finished material was cut from the final release, including cameo roles from Erin Brockovich, Minnie Driver, Isla Fisher, and Edward Norton (as well as Kelsey Grammer, who would have reprised his role as Sideshow Bob). Tom Hanks and the members of Green Day voice their own animated counterparts in the final cut of the film, while Albert Brooks, a frequent guest performer on the series, provides the voice of its main antagonist, Russ Cargill.
Tie-in promotions were made with several companies to promote the film's release, including Burger King and 7-Eleven, the latter of which transformed selected stores into Kwik-E-Marts. The film premiered in Springfield, Vermont on July 21, 2007 and was released theatrically six days later by 20th Century Fox across the United States. The Simpsons Movie received positive reviews and grossed $536.4 million worldwide, became the eighth highest-grossing film of 2007, the second highest-grossing traditionally animated film (behind Walt Disney Animation Studios' The Lion King), and the highest-ever grossing film based on an animated television series. The film received praise for its humor, emotional weight, and callbacks to early seasons. The film was nominated for numerous awards, including a Golden Globe Award for Best Animated Feature Film at the 65th Golden Globe Awards.
Plot
One summer on Lake Springfield, Green Day, after finishing a concert, try to engage the audience in a discussion about the environment, angering the audience into throwing garbage at them, causing the pollution in the lake to erode and sink the band's barge, drowning them. During their memorial at Reverend Lovejoy's church, Grampa Simpson has a spiritual experience and frantically prophesies that a disaster will befall Springfield, but only Marge takes it seriously. Concerned about the terrible state of the environment, Lisa and her new love interest, Colin, hold a seminar where they successfully convince Mayor Quimby to tell the town to clean up the lake. Meanwhile, after a series of dares, including one with Bart skateboarding across Springfield naked and getting in trouble with Chief Wiggum, Homer and Bart go to Krusty Burger, where Homer adopts a pig that Krusty the Clown was about to have killed. Marge, identifying the pig as a part of Grampa's prophecy, warns Homer to get rid of it, but Homer refuses. Homer's fawning over the pig makes Bart, now fed up with his father's carelessness, look to their neighbor, Ned Flanders, as a father figure.
Homer stores the pig's feces in an overflowing silo, disgusting Marge. Homer attempts to dispose of it safely at Marge's request, but his friend Lenny calls him to inform him about Lard Lad Donuts giving away all their donuts for free due to failing a health inspection. In a rush to get to the giveaway, Homer dumps the silo in the lake, critically polluting it. Moments later, a squirrel stumbles into it and becomes severely mutated. While bonding on a hike, Bart and Flanders notice the squirrel, which the EPA capture. Russ Cargill, head of the EPA, informs President Arnold Schwarzenegger on Springfield's pollution crisis and presents five solutions. Without reading them, the president randomly picks the third solution: imprisoning Springfield under a giant glass dome. When Homer's silo is discovered, the townspeople, including Grampa, the school staff, the Simpsons' friends and neighbors, except for the Flanders and Colin, form an angry mob, ransack their house and attempt to lynch them. The family escapes through a sinkhole that Homer hid using Maggie's sandbox, which destroys the house soon after. The family flees to Alaska using a truck that Lisa helps Homer win at a contest, where they try to restart their life.
Within ninety three days, Springfield completely exhausts its daily supplies and the townspeople go crazy as they attempt to escape from the dome using brute force to destroy it, causing cracks to form. Cargill, not wanting news of what he has done to spread around the world, plots to destroy Springfield by tricking the president into choosing a solution that involves its demolition. The Simpsons see a television advertisement for a new Grand Canyon on the site of Springfield. Realizing that their hometown is in danger, the family decide to save it except for Homer, who objects to helping the people who had turned on them. The family soon abandons Homer for his selfishness, with Marge leaving behind a recorded video about it, causing him to run off in search of them. The family are captured by the EPA and placed back inside the dome. After an encounter with a mysterious Inuit shaman who saves him from a polar bear, Homer has an epiphany about saving the town in order to save himself.
Homer returns home and learns about his family's capture as a helicopter lowers a time bomb suspended by a rope through a hole at the top of the dome. Homer enters the dome and descends the rope, knocking the escaping townspeople and the bomb off, inadvertently shortening its countdown, much to the townspeople's anger. After reuniting and reconciling with Bart, they use a motorcycle to travel up the side of the dome and throw the bomb through the hole seconds before it detonates, shattering the dome and freeing the town. Homer and Bart land safely at Springfield Gorge where a shotgun-wielding Cargill confronts them and attempts to shoot them for foiling his plan. But before he can do so, Maggie knocks him out by dropping a large rock on his head. The townspeople praise and forgive Homer, who reconciles with Marge as Springfield begins restoration.
Cast
Dan Castellaneta as Homer Simpson, Abe Simpson, Krusty the Clown, Groundskeeper Willie, Mayor Quimby, Sideshow Mel, Mr. Teeny, EPA Official, Itchy, Barney Gumble, Stage Manager, Blue Haired Lawyer, Multi-Eyed Squirrel, Hans Moleman, Panicky Man, Kissing Cop, Bear, Boy on Phone, NSA Worker, Officer, Rich Texan, Santa's Little Helper, and Squeaky-Voiced Teen
Julie Kavner as Marge Simpson, Selma Bouvier, and Patty Bouvier
Nancy Cartwright as Bart Simpson, Ralph Wiggum, Todd Flanders, Nelson Muntz, Maggie Simpson, TV Daughter, Woman on Phone, and Kearney Zzyzwicz
Yeardley Smith as Lisa Simpson
Hank Azaria as Moe Szyslak, Chief Wiggum, Cletus Spuckler, Professor Frink, Apu Nahasapeemapetilon, Lou, Comic Book Guy, Captain McCallister, Bumblebee Man, Dr. Nick, Carl, Male EPA Worker, Dome Depot Announcer, Kissing Cop, Carnival Barker, Gas Station Clerk, Drederick Tatum, EPA Passenger, Robot, and Wiseguy
Harry Shearer as Mr. Burns, Smithers, Ned Flanders, Reverend Lovejoy, Lenny, President Arnold Schwarzenegger, Seymour Skinner, Kent Brockman, Dr. Hibbert, Otto Mann, Scratchy, Skull, Toll Booth Operator, and Guard
Pamela Hayden as Milhouse Van Houten, Rod Flanders, and Jimbo Jones
Tress MacNeille as Medicine Woman, Agnes Skinner, Crazy Cat Lady, Colin, Cookie Kwan, Sweet Old Lady, Mrs. Muntz, Plopper, Female EPA Worker, Lindsey Neagle, GPS Voice, TV Son, Girl on Phone, and Dolph Starbeam
Albert Brooks (as "A. Brooks") as Russ Cargill
Karl Wiedergott as EPA Officer and Man
Marcia Wallace as Edna Krabappel (scenes deleted)
Russi Taylor as Martin Prince
Maggie Roswell as Helen Lovejoy and Miss Hoover
Phil Rosenthal as TV Dad
Billie Joe Armstrong, Frank Edwin Wright III, and Michael Pritchard as Green Day (themselves)
Joe Mantegna as Fat Tony
Tom Hanks as himself
Additional voices are done by Castellaneta, Kavner, Cartwright, Smith, Azaria, Shearer, Hayden, MacNeille, Wiedergott, Wallace, Taylor, and Roswell
Production
Development
The production staff had considered a film adaptation of The Simpsons since early in the series. The show's creator, Matt Groening, felt a feature-length film would allow them to increase the show's scale and animate sequences too complex for the TV series. He intended the film to be made after the show ended, "but that [...] was undone by good ratings". There were attempts to adapt the fourth season episode "Kamp Krusty" into a film, but difficulties were encountered in expanding the episode to feature-length. For a long time the project was held up. There was difficulty finding a story that was sufficient for a film, and the crew did not have enough time to complete such a project, as they already worked full-time on the show. Groening also expressed a wish to make Simpstasia, a parody of Fantasia; it was never produced, partly because it would have been too difficult to write a feature-length script. At another point, it was briefly suggested to do an anthology-style Treehouse of Horror film, but such suggestion was never pursued. Recurring guest performer Phil Hartman had wished to make a live-action film based on his character Troy McClure; several of the show's staff expressed a desire to help create it, and Josh Weinstein proposed to use the plot of the 1996 episode "A Fish Called Selma" for the film, but the project was cancelled following Hartman's death in 1998.
The voice cast was signed on to do the film in 2001, and work then began on the script. The producers were initially worried that creating a film would have a negative effect on the series, as they did not have enough crew to focus their attention on both projects. As the series progressed, additional writers and animators were hired so that both the show and the film could be produced at the same time. Groening and James L. Brooks invited back Mike Scully and Al Jean (who continued to work as showrunner on the television series) to produce the film with them. They then signed David Silverman (who, in anticipation of the project, had quit his job at Pixar) to direct the film. The "strongest possible" writing team was assembled, with many of the writers from the show's early seasons being chosen. David Mirkin, Mike Reiss, George Meyer, John Swartzwelder, and Jon Vitti were selected. Ian Maxtone-Graham and Matt Selman joined later, and Brooks, Groening, Scully, and Jean also wrote parts of the script. Sam Simon did not return having left the show over creative differences in 1993. Former writer Conan O'Brien expressed interest in working with the Simpsons staff again, although he later joked that "I worry that the Simpsons-writing portion of my brain has been destroyed after 14 years of talking to Lindsay Lohan and that guy from One Tree Hill, so maybe it's all for the best." The same went for director Brad Bird who said he had "entertained fantasies of asking if [he] could work on the movie", but did not have enough time due to work on Ratatouille. The producers arranged a deal with Fox that would allow them to abandon production of the film at any point if they felt the script was unsatisfactory.
Work continued on the screenplay from late 2003 onwards, taking place in the small bungalow where Groening first pitched The Simpsons in 1987. The writers spent six months discussing a plot, and each of them offered sketchy ideas. On their first brainstorming session, Scully suggested a story in which Steven Spielberg (intended to be voiced by Spielberg himself) would try to blow up Springfield so he can shoot a film with Tom Hanks (who ultimately made a guest appearance voicing himself in the finished film). It was also on this same reunion that Groening introduced the idea of Homer adopting a pet pig, inspired by a pig-waste management story he had read in the news. Jean suggested the family rescue manatees, which became the 2005 episode "The Bonfire of the Manatees", and there was also a notion similar to that of The Truman Show where the characters discovered their lives were a TV show. Groening rejected this, as he felt that the Simpsons should "never become aware of themselves as celebrities", but the idea was later used in the video game The Simpsons Game. Groening read about a town that had to get rid of pig feces in their water supply, which inspired the plot of the film. The decision for Flanders to have an important role also came early on, as Jean wished to see Bart wonder what his life would be like if Flanders were his father. Hank Scorpio, a character from the 1996 episode "You Only Move Twice", was originally meant to return as the main antagonist, but the staff dropped the idea and created Russ Cargill instead. Having eventually decided on the basic outline of the plot for the film, the writers then separated it into seven sections. Jean, Scully, Reiss, Swartzwelder, Vitti, Mirkin, and Meyer wrote 25 pages each, and the group met one month later to merge the seven sections into one "very rough draft". The film's script was written in the same way as the television series: the writers sitting around a table, pitching ideas, and trying to make each other laugh. The script went through over 100 revisions, and at one point the film was a musical. However, the songs were continually being shortened and the idea was dropped. Groening described his desire to also make the film dramatically stronger than a TV episode, saying that he wanted to "give you something that you haven't seen before".
Animation
Animation for the film began in January 2006, with the Itchy & Scratchy short being the first scene to be storyboarded. Groening rejected making either a live-action or a CGI film, calling the film's animation "deliberately imperfect" and "a tribute to the art of hand-drawn animation". The film was produced in a widescreen 2.40:1 aspect ratio, to distinguish it from the look of the television series, and colored with the largest palette the animators ever had available to them. A lot of the animation was produced using Wacom Cintiq tablets, which allowed images to be drawn directly onto a computer monitor to facilitate production. Animation production work was divided among four studios around the world: Film Roman in Burbank, California, Rough Draft Studios in Glendale, California, and AKOM and Rough Draft's division in Seoul, South Korea. As with the television series, the storyboarding, characters, background layout, and animatic parts of production, were done in America. The overseas studios completed the inbetweening, digital ink and paint, and rendered the animation to tape before being shipped back to the United States.
Director David Silverman said that unlike the TV series where "you [have] to pick and choose", the film gave them the opportunity to "lavish that attention [on] every single scene". The characters have shadows, unlike in the show. Silverman and the animators looked to films such as The Incredibles, The Triplets of Belleville, and Bad Day at Black Rock for inspiration, as they were "a great education in staging because of how the characters are placed". They also looked for ideas for a dream sequence, in Disney films such as Dumbo and the Pluto cartoon Pluto's Judgment Day and for crowd scenes in It's a Mad, Mad, Mad, Mad World. Silverman looked at some of the Simpsons episodes he had directed, primarily his two favorites, "Homie the Clown" and "Three Men and a Comic Book". Mike B. Anderson, Lauren MacMullan, Rich Moore and Steven Dean Moore each directed the animation for around a quarter of the film under Silverman's supervision, with numerous other animators working on scenes.
Casting
For inspiration for the crowd scenes in the film, the production staff referenced a poster featuring more than 320 Simpsons characters. Groening said they tried to include every single character in the film, with 98 having speaking parts, and most members of the crowds being previously established characters instead of generic people. The series' regular voice actors: Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria and Harry Shearer, as well as semi-regular performers Tress MacNeille, Pamela Hayden, Marcia Wallace, Maggie Roswell, Russi Taylor and Karl Wiedergott, reprised their roles. Joe Mantegna returned as Fat Tony, while Albert Brooks, who supplied many guest voices in episodes, was cast as the main antagonist Russ Cargill after he told the staff that he wanted to be part of the film. For "about a week", Brooks was to reprise the role of Hank Scorpio, but when the character was omitted from the film, he ended up voicing Cargill himself.
The cast did the first of three table readings in May 2005, and began recording every week from June 2006 until the end of production. James L. Brooks directed them for the first time since the television show's early seasons. Castellaneta found the recording sessions "more intense" than recording the television series and "more emotionally dramatic". Some scenes, such as Marge's video message to Homer, were recorded over one hundred times, leaving the voice cast exhausted.
The writers had written the opening concert scene without a specific band in mind. Green Day were cast in that role having requested to guest star in the show. Tom Hanks also appears as himself in the film and accepted the offer after just one phone call. Everybody Loves Raymond creator Philip Rosenthal provides the voice of the father in the "new Grand Canyon" commercial with Hanks. Due to time restraints, several guests who had recorded parts were cut from the film. Minnie Driver recorded the part of a patronizing grievance counselor in a scene that ended up being cut. Edward Norton recorded the part of the man who gets crushed as the dome is implemented, performing a Woody Allen impression. The staff felt the voice was too distracting, so Castellaneta re-recorded Norton's dialogue with a different voice. Isla Fisher and Erin Brockovich also recorded cameos, but their scenes were cut. Kelsey Grammer recorded lines for Sideshow Bob, who was to appear at several different points, but these scenes were also cut. Johnny Knoxville was also touted as a possible guest star.
Although he does not provide the voice, Arnold Schwarzenegger is president of the United States rather than then-President George W. Bush because, according to Groening, "in two years ... the film [would be] out of date". Brooks was nervous about the idea, noting that "[Schwarzenegger's] opinion polls were way down", and has said that they "were [hoping] he'd make a political comeback". The animators began by drawing an accurate caricature of Schwarzenegger, but one of the staff instead suggested an altered version of recurring character Rainier Wolfcastle as President. This idea was developed, with the design of Wolfcastle, himself also a caricature of Schwarzenegger, being given more wrinkles under his eyes and a different hairstyle.
Editing
Every aspect of the film was constantly analyzed, with storylines, jokes and characters regularly being rewritten. Although most animated films do not make extensive changes to the film during active production due to budget restrictions, The Simpsons Movie crew continued to edit their film into 2007, with some edits taking place as late as May, two months before the film was released. James L. Brooks noted, "70 percent of the things in [one of the trailers]—based on where we were eight weeks ago—are no longer in the movie." Groening said that enough material for two more films was cut. Various new characters were created, and then cut because they did not contribute enough. Originally Marge was the character who had the prophetic vision in church. The writers however considered this to be too dark and it was changed to Grampa. The role of Lisa's love interest Colin was frequently revised. He was previously named Dexter and Adrien, and his appearance was completely altered. One idea was to have Milhouse act as Lisa's love interest, but the writers realized "the audience was not as familiar with [his] long-standing crush on [Lisa] as [they had] thought". A car chase in which Homer throws flaming mummies out of a truck at the EPA was replaced with "more emotional and realistic" scenes at the motel and carnival that allowed for a change of pace. The scene of a naked Bart on his skateboard was Groening's idea, who had always wanted to have Bart skateboarding naked, and Scully had the idea of showing Bart's penis for two seconds. Storyboard Michael Archer was credited for devising the way to cover Bart's genitals with different things before they are exposed to the viewer. While the crew agreed that the gag would be funny, they wondered it if would mean an R-rating for the film, as they were happy with a PG-13 rating and that gag was nonsexual and silly. They were ultimately to get away with the joke because it wasn't live-action nor was it Homer's genitals.
Further changes were made after the March 2007 preview screenings of the film in Portland, Oregon and Phoenix, Arizona. This included the deletion of Kang and Kodos heavily criticizing the film during the end credits. A lot of people at the screenings found the original film too coarse, and some of Homer's behavior too unkind, so several scenes were toned down to make him appear nicer. Russ Cargill was redesigned several times, originally appearing as an older man whose speech patterns Albert Brooks based on Donald Rumsfeld. The older model was the one used by Burger King for the action figure. Cargill's scene with Bart and Homer at the film's conclusion was added in to fully resolve his story, and the "Spider-Pig" gag was also a late addition. One excised scene, before the dome is put over Springfield, had Mr. Burns reminding viewers that it was the last point in the film that they could get a refund. Other deletions included Homer's encounter with a sausage truck driver, which was featured on the DVD, a scene with Plopper the pig at the end, and a news report, showing the dome's effect on daily life in Springfield in areas such as farming and sport, was cut because it did not fit the overall context of the film. Several musical numbers, at various intervals throughout the film, were cut. These included a song about Alaska, featuring music by Dave Stewart of Eurythmics. Jean said it "got pretty far along in the animation, and then we got scared that the movie began to drag in that section."
Music
Producer James L. Brooks chose Hans Zimmer to compose the film's score, as they were good friends and regular collaborators. Zimmer felt that the score was a "unique challenge", and he had to "try and express the style of The Simpsons without wearing the audience out". He used Danny Elfman's original opening theme, but did not wish to overuse it. He created themes for each member of the family. Homer's leitmotif was a major focus, and Zimmer also composed smaller themes for Bart and Marge. Regular television series composer Alf Clausen was not asked to score the film, noting: "sometimes you're the windshield, sometimes you're the bug".
In addition to their appearance in the film, Green Day recorded its own version of the Simpsons theme, and released it as a single. Zimmer turned the Spider-Pig song into a choral piece, which was a joke he never intended to be put into the film. Zimmer also had to write foreign-language lyrics for the 32 dubbed versions of the song when the film was released internationally. He found translating the song into Spanish the hardest to write. The same choir learned to sing the piece for each of the foreign-language dubs.
Themes
Al Jean described the film's message as being "a man should listen to his wife". In addition, the film parodies two major contemporary issues, religion and environmentalism. The theme of environmentalism is present throughout the film: in Homer's polluting of Lake Springfield, Green Day's cameo, Lisa's activism and her romance with Colin. The villainous Russ Cargill is head of the Environmental Protection Agency. Reviewer Ed Gonzalez argued the plot was a satire of the government's reaction to the effects of Hurricane Katrina on New Orleans. Ian Nathan of Empire magazine criticized this focus, believing it gave the film an "overt political agenda [which] border[s] on polemic". James D. Bloom of Muhlenberg College commented on the "explicitness" of the film's "intellectual agenda", on this issue, shown particularly through Lisa. He wrote that the film's first post-opening credits scene, which sees Green Day fail in an attempt to engage their audience on the issue of the environment, "sets in motion a plot expressly built around cultural agenda-setting" and "reflection on timely 'issues'."
Religion is focused on in Grampa's momentary possession, and Marge believing what he said to be a message from God. Groening joked the film "posit[s] the existence of a very active God", when asked if he believed it was likely to offend. Mark I. Pinsky, author of The Gospel According to The Simpsons, said the film "treats genuine faith with respect, while keeping a sharp eye out for religious pretension and hypocrisy of all kinds". Regarding the scene where the tenants of Moe's Tavern and the Church switch locations, he believed it took the "chance to unmask everyone's human fallibility." In analyzing the role of Ned Flanders, he wrote, "It is [the] willingness of The Simpsons to depict all the different sides of us [...] that makes it so rich and funny on our complicated relationship with religion." Trees are a motif in the film, and they were implemented in every important or emotional scene throughout the film. The animators inserted an apple tree behind Lisa and Colin during their initial meeting, which was a reference to the biblical figures of Adam and Eve and the Garden of Eden.
Cultural references
Many cultural references and allusions are made throughout the film. Green Day play "Nearer, My God, to Thee" on violins as their barge sinks, in a sequence parodying the film Titanic. When Bart is riding his skateboard naked, different passing objects are almost constantly covering his genitalia, a nod to similar techniques used in Austin Powers: International Man of Mystery. Homer and Marge's love scene parodies many Disney films, including Cinderella, with Disney-style animals helping them undress. Originally, the music from The Wizard of Oz was used in that scene, and the fawn had white spots; these were removed because the animators felt it resembled Bambi too clearly. Bart impersonates Mickey Mouse on the train, calling himself "the mascot of an evil corporation". Homer plays Grand Theft Walrus, an allusion to the video game series Grand Theft Auto. In the game, his character shoots a tap-dancing penguin in reference to the film Happy Feet. The "Spider-Pig" song is a parody of the theme song of the 1967 Spider-Man TV series, and the name of Lisa's lecture is An Irritating Truth, a play on Al Gore's film An Inconvenient Truth. The bomb disposal robot was based on Vincent D'Onofrio's character Leonard "Pyle" Lawrence from the film Full Metal Jacket, who commits suicide in a similar way. At the end of the film, the crowd's celebration is similar to the conclusion of Return of the Jedi, with Carl performing exactly the same hand gestures as Lando Calrissian.
The $1,000 Homer received when entering Alaska is a reference to the Alaska Permanent Fund Dividend. As Homer leaves Eski-Moe's he grabs on to a passing truck and uses it to propel himself back to the house, a tribute to actor Buster Keaton, while the epiphany scene features homages to the film Brazil and the works of Salvador Dalí. Hillary Clinton appears as Itchy's vice president, while an Orc from The Lord of the Rings appears in the mob scene. A scene that was cut had Marge and the kids appear on the TV talk show The View to spread the news of Springfield's impending doom. Parts were written for the show's entire panel and the scene was planned to feature Russ Cargill having a gunfight with Joy Behar. Another dropped scene featured Moe describing Springfield's varying physical states inside the dome, one of which was the Disneyland ride Autopia. There are several references to events in previous TV episodes of The Simpsons. These include the wreckage of the ambulance from the episode "Bart the Daredevil" crashed into a tree next to Springfield Gorge. The Carpenters' song "(They Long to Be) Close to You" was used in Homer and Marge's wedding video and had also been used in several emotional moments between them in the TV series.
Release
Theatrical
On April 1, 2006, 20th Century Fox announced that the film would be released worldwide on July 27, 2007. The film was released a day earlier in Australia and the United Kingdom. Little information about the plot was released in the weeks building up to the film's release. Groening did not feel that "people look in the TV section of the newspaper and think, 'I'll watch this week's Simpsons because I like the plot.' You just tune in and see what happens."
Fox held a competition among 16 Springfields across the United States to host the American premiere. Each Springfield produced a film, explaining why their town should host the premiere, with the results being decided via a vote on the USA Today website. Springfield, Minnesota dropped out on May 31, 2007. The winner was announced on July 10 to be Springfield, Vermont. The town beat Springfield, Illinois by 15,367 votes to 14,634. Each of the other 14 entrants held their own smaller screenings of the film on July 26. Springfield, Vermont hosted the world premiere of the film on July 21 with a yellow carpet instead of the traditional red.
The film was rated PG-13 by the Motion Picture Association of America for "irreverent humor throughout"; the production staff had expected this rating. However, the British Board of Film Classification passed the film as a PG with no cuts made. A BBFC spokeswoman said regarding Bart's brief nude scene, "natural nudity with no sexual content is acceptable in PG films". The film was banned in Myanmar, not for the scene of nudity, but for the excessive use of the colors yellow and red, which is prohibited in the country.
Marketing
The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion.
Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away.
McFarlane Toys released a line of action figures based on the film while EA Games released The Simpsons Game to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system.
Home media
The film was released on DVD and Blu-ray Disc worldwide on December 3, 2007, and on December 18 in the United States. It contains commentary tracks from both the producers and animators, six short deleted scenes, and a selection of material used to promote the film release. An unfinished deleted scene of the townspeople singing the Springfield Anthem was also included on The Simpsons The Complete Tenth Season DVD box set.
Promotions for the DVD release occurred across the United States. The Empire State Building was illuminated yellow, the first time the building had ever been used as part of a film promotion. In the United Kingdom, Fox launched a £5 million advertising campaign. They also signed a £1.6 million deal with the yogurt company Yoplait, to produce a The Simpsons Movie design for their brand Frubes. In its first week it topped the U.S. DVD chart, and generated $11.8 million in rental revenue.
The Simpsons Movie was included on Disney+ on November 12, 2019.
Reception
Critical reception
On Rotten Tomatoes, the film has an approval rating of 87% based on 223 reviews and an average rating of 7.5/10. The site's critical consensus reads, "The Simpsons Movie contains the hearty laughs, biting satire, and honest portrayal of an American family that makes the show so popular. And it boasts slicker animation and polished writing that hearkens back to the show's glory days." On Metacritic, it received a score of 80 out of 100, based on 36 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.
British newspapers The Guardian and The Times both gave the film four out of five stars. The Times' James Bone said that it "boasts the same sly cultural references and flashes of brilliance that have earned the television series a following that ranges from tots to comparative literature PhDs". The Guardian's Peter Bradshaw stated that it "gives you everything you could possibly want" and that he thought, "Eighty-five minutes [was] not long enough to do justice to 17 years of comedy genius". Ed Gonzalez praised the film for its political message, likening the Itchy & Scratchy cartoon at the beginning to President Schwarzenegger's situation later on, as well as the film's visual gags. Randy Shulman praised the cast, and described them as having "elevated their vocal work to a craft that goes way beyond simple line readings", and particularly praised Kavner who he said "gave what must be the most heartfelt performance ever". Roger Ebert gave a positive review of three out of four stars, but admitted he was "generally [not] a fan of movies spun off from TV animation". He called it "radical and simple at the same time, subversive and good-hearted, offensive without really meaning to be". Richard Corliss of Time said that the film "doesn't try to be ruder or kinkier, just bigger and better".
USA Today film critic Claudia Puig said that the story did "warrant a full-length feature, thanks to a clever plot and non-stop irreverent humor". Patrick Kolan believed that the film was "easily the best stuff to come [from the Simpsons] since season 12 or 13" and praised the animation, but also said that the appearances of characters such as Comic Book Guy and Seymour Skinner were "small and unfunny". Kirk Honeycutt of The Hollywood Reporter praised the film's good nature, stating that the laughs "come in all sizes", but also noted that, "little has been gained bringing the Simpsons to the screen."
Variety's Brian Lowry called it "clever, irreverent, satirical and outfitted" but that it was "just barely" capable of sustaining a running time longer than a television episode. Lisa Schwarzbaum praised the voice cast but stated that the "'action' sequences sometimes falter". When comparing the film to the early episodes of the show, Stephen Rowley concluded that the film "has more going for it than the show in its later years, but is still a long way short of what made it so invigorating". The Monthly critic Luke Davies echoed Lowry's concerns about the length: "everything moves with the whip-crack speed of a half-hour episode. And that's the paradox: it makes the film feel like three episodes strung together. We're in a cinema, and we expect something epic." He opined that "in the great arc that is the history of The Simpsons, this film will come to be seen as oddity rather than apotheosis."
More negative reception came from the magazine Empire, where reviewer Ian Nathan compared the film to New Coke, saying that "it utterly failed". Phil Villarreal believed that there were "too few laugh-worthy moments" and that "instead of stretching to new frontiers, the film rests on the familiar". Sheila Johnston criticized the pacing of the film and its joke level saying that "the overall momentum flags at times" and that it was "a salvo of comic squibs, some very funny, others limp". David Edwards agreed with this, writing that although "there's a great half-hour show rattling around...the rest is padding at its very dullest", concluding that it "isn't a terrible film, just a terribly disappointing one." Cosmo Landesman believed, "the humour seem[ed] to have lost its satirical bite and wit" and that "much of the comedy is structured around the idiocy of Homer". This assessment was shared by Carina Chocano of the Los Angeles Times, who felt that "once the movie wanders into its contemplation of mortality and meaning, the trenchancy kind of creaks and falls off." She negatively compared it to South Park: Bigger, Longer & Uncut (1999), a film similarly adapted from an animated television series, saying that, in terms of satire, it offers "nothing we don't hear every night on The Daily Show with Jon Stewart." Bruce Newman criticized the fleeting appearances of many of the show's secondary characters, and found the film to be "a disappointment".
Box office
The film earned $30,758,269 on its opening day in the U.S. making it the 25th-highest, and fifth-highest non-sequel opening day revenue of all time. It grossed a combined total of $74,036,787 in its opening weekend on 5,500 screens at 3,922 theaters, reaching the top of the box office for that weekend. This made it the tenth-highest revenue of all time, for an opening weekend in July, and highest among non-sequels, and the highest animated TV adaptation of all time. This outperformed the expectations of $40 million that Fox had for the release.
It set several American box office records, including highest grossing opening weekend for a non-CG animated film and for a film based on a television series, surpassing Mission: Impossible 2. It was also the third-highest grossing opening weekend for an animated film. It opened at the top of the international box office taking $96 million from 71 overseas territories, including $27.8 million in the United Kingdom, the second-highest UK opening ever for a 20th Century Fox film. It contributed to over half of the record 5.5 million people attending British cinemas that weekend. In Australia, it grossed $13.2 million, the third-highest opening weekend in the country, and the highest for an animated film. The United Kingdom is the highest-grossing country for the film outside the US with a $78.4 million gross overall, with Germany in second place with a $36.3 million gross overall. The film closed on December 20, 2007 with a gross of $183.1 million in the United States and Canada and a worldwide gross of $536.4. It was the eighth-highest-grossing film worldwide and the twelfth-highest grossing in the United States and Canada of 2007.
Accolades
The Simpsons Movie won the award for Best Comedy Film at the British Comedy Awards, Best Animation at the inaugural ITV National Movie Awards, and Best Movie at the UK Nickelodeon Kids Choice Awards, beating Harry Potter and the Order of the Phoenix, Pirates of the Caribbean: At World's End, and Shrek the Third. The film's trailer won a Golden Trailer Award in the category Best Animated/Family Film Trailer at the 8th Annual Golden Trailer Awards. Forbes named the film the third best of the year, based on its box office takings and Metacritic critical response score. The film's website received a Webby Award at the 12th Annual Webby Awards in the category "Best Movie and Film Website".
At the 35th Annie Awards the film was nominated in four categories: Best Animated Feature, Directing in an Animated Feature Production, Writing in an Animated Feature Production, and Voice Acting in an Animated Feature Production for Julie Kavner. All four awards were won by Ratatouille. It was nominated for Best Animated Feature Film at the 65th Golden Globe Awards, the BAFTA for Best Animated Film, and the Producers Guild Award for Animated Theatrical Motion Picture. It also received nominations for the Satellite Award for Best Animated or Mixed Media Feature, the Chicago Film Critics Association Award for Best Animated Feature, and the Broadcast Film Critics Association Award for Best Animated Feature.
Before its release, the film received a nomination at the 2007 MTV Movie Awards for "Best Summer Movie You Haven't Seen Yet", with the award ultimately won by Transformers, and lost the Teen Choice Award for "Choice Summer Movie – Comedy/Musical", which was won by Hairspray. It was also nominated for Favorite Movie Comedy at the People's Choice Awards, losing to Knocked Up.
Planned sequel
In 2014, Brooks stated that he had been approached by Fox and that they had requested a second film. He added that there were no immediate plans, stating, "We've been asked to [develop it], but we haven't. We're doing a lot of other stuff." In December 2014, just prior to the broadcast of the episode "The Man Who Came to Be Dinner", Jean wrote on Twitter that the episode (which had been produced in 2012 and was originally set to air in May 2013) had been held back by himself and Brooks because it was being considered for adaptation into a sequel film as the episode was "cinematic". Jean later expanded that there was the fear of the potential film being considered "not canonical" with the TV series and the potential backlash of overcoming it by using a "memory wipe". In July 2017, Silverman and Jean said that the sequel was in the early stages of development and stressed the toll production of the first picture took on the entire staff. On August 10, 2018, it was reported that a sequel is in development. On July 22, 2019, Groening stated that he has "no doubts" that Disney will likely produce a sequel one day. In July 2021, Jean stated that discussions for the potential sequel had stalled due to the COVID-19 pandemic.
References
External links
2007 films
2007 animated films
2007 comedy films
2007 directorial debut films
2000s American animated films
20th Century Fox animated films
20th Century Fox Animation films
20th Century Fox films
American adult animated films
American films
American animated comedy films
Animated comedy films
Animated films based on animated series
Animated films based on animated television series
Animated films set in the United States
The Simpsons
English-language films
Films about dysfunctional families
Films directed by David Silverman
Films produced by James L. Brooks
Films produced by Matt Groening
Films scored by Hans Zimmer
Films set in fictional populated places
Films with screenplays by James L. Brooks
Films with screenplays by John Swartzwelder
Films with screenplays by Matt Groening
Fox Television Animation films
Gracie Films films
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"Umbrella marketing refers to the explicit use of umbrellas in marketing campaigns, a phenomenon in China.\n\nForms\nThe first high-profile case of umbrella marketing can be found in the 2017 Chinese Father's Day where Jingdong Mall utilised a 2015 online photo of a father and his son, causing a copyrights stir.\n\nSince then, there has been a rise in umbrella marketing through umbrella-sharing schemes. In March 2017 Molisan introduced its umbrella-sharing scheme through its WeChat service account in Guangzhou, initially releasing 1000 umbrellas in six underground stations. In May 2017 (e-umbrella) released its scheme in Shenzhen, releasing 500 umbrellas the first day. Like the widespread bike-sharing schemes in China, these umbrella schemes work with a deposit followed by a pay-as-you-go service. In August 2017 Mosun was established as an umbrella-sharing scheme in Shanghai, running across Shanghai's Line 2 Metro stations.\n\nIn August 2017 Haier, the Chinese multinational consumer electronics company, also engaged in umbrella marketing through their launch of their custom umbrellas. Urbem Media, a Shanghai-based dining club, has similarly utilised umbrella marketing akin to other forms of guerilla marketing, whereby VIP members receive access to company customised umbrellas.\n\nSee also\n Bicycle-sharing system\n Guerilla marketing\n Tissue-pack marketing\n\nReferences\n\nTypes of marketing",
"Robert Lawrence FitzPatrick is an author. He serves as president of Pyramid Scheme Alert, a consumer organization to confront the abuses of pyramid schemes.\n\nBiography\n\nEarly career\n\nFitzpatrick's interest in pyramid schemes was sparked in the 1980s when he joined a business with a multi-level, direct-sales model. While Fitzpatrick didn't lose money, he did witness first-hand how one could get sucked into what he called \"delusional behavior\".\n\nAuthor\nFitzPatrick is the co-author of the self-published book False Profits: Seeking Financial and Spiritual Deliverance in Multi-Level Marketing and Pyramid Schemes (), a 1997 critical book that examines the multi-level marketing industry. He has followed it up with his book Ponzinomics: The Untold Story of Multi-Level Marketing.\n\nSpeaker\nFitzPatrick has been featured on Fraud Squad TV, ABC World News and WTTW's Chicago Matters. He has been interviewed live on CBC's Marketplace. He has been quoted in newspapers and journals, including The Wall Street Journal and The New York Times.\n\nReferences\n\nExternal links \n \n Robert L. FitzPatrick Official False Profits Blog\n Pyramid Scheme Alert - Homepage\n Robert L. FitzPatrick Interview on Charlotte Talks Radio Show (12-4-2006)\n Robert L. FitzPatrick Interview - ZenBiz Radio\n Robert L. FitzPatrick - Speech at the annual meeting of the Association of Certified Fraud Specialists in San Francisco (September, 2006)\n\nLiving people\nYear of birth missing (living people)\nAmerican non-fiction writers\nWriters from Charlotte, North Carolina\nPeople associated with direct selling"
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"The Simpsons Movie",
"Marketing",
"how much did marketing cost?",
"The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million.",
"Was there any stunts in marketing?",
"Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion.",
"Are there any other interesting aspects about this article?",
"20th Century Fox erected a \"giant pink donut\" in the town of Springfield in Canterbury, New Zealand",
"What other marketing schemes happened?",
"in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station."
] |
C_d89de81934a1413f801b02acd1dedcf4_1
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Did any stunts not work?
| 5 |
Did any marketing stunts for The Simpsons Movie fail?
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The Simpsons Movie
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The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion. Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away. McFarlane Toys released a line of action figures based on the film, EA Games released The Simpsons Game, to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system. CANNOTANSWER
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CANNOTANSWER
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The Simpsons Movie is a 2007 American animated comedy film based on the long-running animated sitcom The Simpsons. The film was directed by the show's supervising director David Silverman and stars the show's regular cast of Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Harry Shearer, Tress MacNeille, Pamela Hayden, Karl Wiedergott, Marcia Wallace, Maggie Roswell, Russi Taylor, Joe Mantegna, and Albert Brooks. The film follows Homer Simpson, who irresponsibly pollutes the lake in Springfield, causing the Environmental Protection Agency (EPA) to imprison the town under a giant glass dome. After he and his family escape, they ultimately abandon Homer for his selfishness and return to Springfield to prevent the town’s demolition by Russ Cargill, head of the EPA. Homer works to redeem his folly by returning to Springfield himself in an effort to save it.
Although previous attempts to create a Simpsons film had been made, they failed due to the lack of lengthy script and production crew members. Eventually in 2001, producers James L. Brooks, Matt Groening, Al Jean, Mike Scully and Richard Sakai began development of the film and a writing team consisting of Brooks, Groening, Jean, Scully, Ian Maxtone-Graham, George Meyer, David Mirkin, Mike Reiss, Matt Selman, John Swartzwelder and Jon Vitti was assembled. They conceived numerous plot ideas, with Groening's being the one adapted. The script was rewritten over a hundred times, also continuing after work on the animation began in 2006. Consequently, hours of finished material was cut from the final release, including cameo roles from Erin Brockovich, Minnie Driver, Isla Fisher, and Edward Norton (as well as Kelsey Grammer, who would have reprised his role as Sideshow Bob). Tom Hanks and the members of Green Day voice their own animated counterparts in the final cut of the film, while Albert Brooks, a frequent guest performer on the series, provides the voice of its main antagonist, Russ Cargill.
Tie-in promotions were made with several companies to promote the film's release, including Burger King and 7-Eleven, the latter of which transformed selected stores into Kwik-E-Marts. The film premiered in Springfield, Vermont on July 21, 2007 and was released theatrically six days later by 20th Century Fox across the United States. The Simpsons Movie received positive reviews and grossed $536.4 million worldwide, became the eighth highest-grossing film of 2007, the second highest-grossing traditionally animated film (behind Walt Disney Animation Studios' The Lion King), and the highest-ever grossing film based on an animated television series. The film received praise for its humor, emotional weight, and callbacks to early seasons. The film was nominated for numerous awards, including a Golden Globe Award for Best Animated Feature Film at the 65th Golden Globe Awards.
Plot
One summer on Lake Springfield, Green Day, after finishing a concert, try to engage the audience in a discussion about the environment, angering the audience into throwing garbage at them, causing the pollution in the lake to erode and sink the band's barge, drowning them. During their memorial at Reverend Lovejoy's church, Grampa Simpson has a spiritual experience and frantically prophesies that a disaster will befall Springfield, but only Marge takes it seriously. Concerned about the terrible state of the environment, Lisa and her new love interest, Colin, hold a seminar where they successfully convince Mayor Quimby to tell the town to clean up the lake. Meanwhile, after a series of dares, including one with Bart skateboarding across Springfield naked and getting in trouble with Chief Wiggum, Homer and Bart go to Krusty Burger, where Homer adopts a pig that Krusty the Clown was about to have killed. Marge, identifying the pig as a part of Grampa's prophecy, warns Homer to get rid of it, but Homer refuses. Homer's fawning over the pig makes Bart, now fed up with his father's carelessness, look to their neighbor, Ned Flanders, as a father figure.
Homer stores the pig's feces in an overflowing silo, disgusting Marge. Homer attempts to dispose of it safely at Marge's request, but his friend Lenny calls him to inform him about Lard Lad Donuts giving away all their donuts for free due to failing a health inspection. In a rush to get to the giveaway, Homer dumps the silo in the lake, critically polluting it. Moments later, a squirrel stumbles into it and becomes severely mutated. While bonding on a hike, Bart and Flanders notice the squirrel, which the EPA capture. Russ Cargill, head of the EPA, informs President Arnold Schwarzenegger on Springfield's pollution crisis and presents five solutions. Without reading them, the president randomly picks the third solution: imprisoning Springfield under a giant glass dome. When Homer's silo is discovered, the townspeople, including Grampa, the school staff, the Simpsons' friends and neighbors, except for the Flanders and Colin, form an angry mob, ransack their house and attempt to lynch them. The family escapes through a sinkhole that Homer hid using Maggie's sandbox, which destroys the house soon after. The family flees to Alaska using a truck that Lisa helps Homer win at a contest, where they try to restart their life.
Within ninety three days, Springfield completely exhausts its daily supplies and the townspeople go crazy as they attempt to escape from the dome using brute force to destroy it, causing cracks to form. Cargill, not wanting news of what he has done to spread around the world, plots to destroy Springfield by tricking the president into choosing a solution that involves its demolition. The Simpsons see a television advertisement for a new Grand Canyon on the site of Springfield. Realizing that their hometown is in danger, the family decide to save it except for Homer, who objects to helping the people who had turned on them. The family soon abandons Homer for his selfishness, with Marge leaving behind a recorded video about it, causing him to run off in search of them. The family are captured by the EPA and placed back inside the dome. After an encounter with a mysterious Inuit shaman who saves him from a polar bear, Homer has an epiphany about saving the town in order to save himself.
Homer returns home and learns about his family's capture as a helicopter lowers a time bomb suspended by a rope through a hole at the top of the dome. Homer enters the dome and descends the rope, knocking the escaping townspeople and the bomb off, inadvertently shortening its countdown, much to the townspeople's anger. After reuniting and reconciling with Bart, they use a motorcycle to travel up the side of the dome and throw the bomb through the hole seconds before it detonates, shattering the dome and freeing the town. Homer and Bart land safely at Springfield Gorge where a shotgun-wielding Cargill confronts them and attempts to shoot them for foiling his plan. But before he can do so, Maggie knocks him out by dropping a large rock on his head. The townspeople praise and forgive Homer, who reconciles with Marge as Springfield begins restoration.
Cast
Dan Castellaneta as Homer Simpson, Abe Simpson, Krusty the Clown, Groundskeeper Willie, Mayor Quimby, Sideshow Mel, Mr. Teeny, EPA Official, Itchy, Barney Gumble, Stage Manager, Blue Haired Lawyer, Multi-Eyed Squirrel, Hans Moleman, Panicky Man, Kissing Cop, Bear, Boy on Phone, NSA Worker, Officer, Rich Texan, Santa's Little Helper, and Squeaky-Voiced Teen
Julie Kavner as Marge Simpson, Selma Bouvier, and Patty Bouvier
Nancy Cartwright as Bart Simpson, Ralph Wiggum, Todd Flanders, Nelson Muntz, Maggie Simpson, TV Daughter, Woman on Phone, and Kearney Zzyzwicz
Yeardley Smith as Lisa Simpson
Hank Azaria as Moe Szyslak, Chief Wiggum, Cletus Spuckler, Professor Frink, Apu Nahasapeemapetilon, Lou, Comic Book Guy, Captain McCallister, Bumblebee Man, Dr. Nick, Carl, Male EPA Worker, Dome Depot Announcer, Kissing Cop, Carnival Barker, Gas Station Clerk, Drederick Tatum, EPA Passenger, Robot, and Wiseguy
Harry Shearer as Mr. Burns, Smithers, Ned Flanders, Reverend Lovejoy, Lenny, President Arnold Schwarzenegger, Seymour Skinner, Kent Brockman, Dr. Hibbert, Otto Mann, Scratchy, Skull, Toll Booth Operator, and Guard
Pamela Hayden as Milhouse Van Houten, Rod Flanders, and Jimbo Jones
Tress MacNeille as Medicine Woman, Agnes Skinner, Crazy Cat Lady, Colin, Cookie Kwan, Sweet Old Lady, Mrs. Muntz, Plopper, Female EPA Worker, Lindsey Neagle, GPS Voice, TV Son, Girl on Phone, and Dolph Starbeam
Albert Brooks (as "A. Brooks") as Russ Cargill
Karl Wiedergott as EPA Officer and Man
Marcia Wallace as Edna Krabappel (scenes deleted)
Russi Taylor as Martin Prince
Maggie Roswell as Helen Lovejoy and Miss Hoover
Phil Rosenthal as TV Dad
Billie Joe Armstrong, Frank Edwin Wright III, and Michael Pritchard as Green Day (themselves)
Joe Mantegna as Fat Tony
Tom Hanks as himself
Additional voices are done by Castellaneta, Kavner, Cartwright, Smith, Azaria, Shearer, Hayden, MacNeille, Wiedergott, Wallace, Taylor, and Roswell
Production
Development
The production staff had considered a film adaptation of The Simpsons since early in the series. The show's creator, Matt Groening, felt a feature-length film would allow them to increase the show's scale and animate sequences too complex for the TV series. He intended the film to be made after the show ended, "but that [...] was undone by good ratings". There were attempts to adapt the fourth season episode "Kamp Krusty" into a film, but difficulties were encountered in expanding the episode to feature-length. For a long time the project was held up. There was difficulty finding a story that was sufficient for a film, and the crew did not have enough time to complete such a project, as they already worked full-time on the show. Groening also expressed a wish to make Simpstasia, a parody of Fantasia; it was never produced, partly because it would have been too difficult to write a feature-length script. At another point, it was briefly suggested to do an anthology-style Treehouse of Horror film, but such suggestion was never pursued. Recurring guest performer Phil Hartman had wished to make a live-action film based on his character Troy McClure; several of the show's staff expressed a desire to help create it, and Josh Weinstein proposed to use the plot of the 1996 episode "A Fish Called Selma" for the film, but the project was cancelled following Hartman's death in 1998.
The voice cast was signed on to do the film in 2001, and work then began on the script. The producers were initially worried that creating a film would have a negative effect on the series, as they did not have enough crew to focus their attention on both projects. As the series progressed, additional writers and animators were hired so that both the show and the film could be produced at the same time. Groening and James L. Brooks invited back Mike Scully and Al Jean (who continued to work as showrunner on the television series) to produce the film with them. They then signed David Silverman (who, in anticipation of the project, had quit his job at Pixar) to direct the film. The "strongest possible" writing team was assembled, with many of the writers from the show's early seasons being chosen. David Mirkin, Mike Reiss, George Meyer, John Swartzwelder, and Jon Vitti were selected. Ian Maxtone-Graham and Matt Selman joined later, and Brooks, Groening, Scully, and Jean also wrote parts of the script. Sam Simon did not return having left the show over creative differences in 1993. Former writer Conan O'Brien expressed interest in working with the Simpsons staff again, although he later joked that "I worry that the Simpsons-writing portion of my brain has been destroyed after 14 years of talking to Lindsay Lohan and that guy from One Tree Hill, so maybe it's all for the best." The same went for director Brad Bird who said he had "entertained fantasies of asking if [he] could work on the movie", but did not have enough time due to work on Ratatouille. The producers arranged a deal with Fox that would allow them to abandon production of the film at any point if they felt the script was unsatisfactory.
Work continued on the screenplay from late 2003 onwards, taking place in the small bungalow where Groening first pitched The Simpsons in 1987. The writers spent six months discussing a plot, and each of them offered sketchy ideas. On their first brainstorming session, Scully suggested a story in which Steven Spielberg (intended to be voiced by Spielberg himself) would try to blow up Springfield so he can shoot a film with Tom Hanks (who ultimately made a guest appearance voicing himself in the finished film). It was also on this same reunion that Groening introduced the idea of Homer adopting a pet pig, inspired by a pig-waste management story he had read in the news. Jean suggested the family rescue manatees, which became the 2005 episode "The Bonfire of the Manatees", and there was also a notion similar to that of The Truman Show where the characters discovered their lives were a TV show. Groening rejected this, as he felt that the Simpsons should "never become aware of themselves as celebrities", but the idea was later used in the video game The Simpsons Game. Groening read about a town that had to get rid of pig feces in their water supply, which inspired the plot of the film. The decision for Flanders to have an important role also came early on, as Jean wished to see Bart wonder what his life would be like if Flanders were his father. Hank Scorpio, a character from the 1996 episode "You Only Move Twice", was originally meant to return as the main antagonist, but the staff dropped the idea and created Russ Cargill instead. Having eventually decided on the basic outline of the plot for the film, the writers then separated it into seven sections. Jean, Scully, Reiss, Swartzwelder, Vitti, Mirkin, and Meyer wrote 25 pages each, and the group met one month later to merge the seven sections into one "very rough draft". The film's script was written in the same way as the television series: the writers sitting around a table, pitching ideas, and trying to make each other laugh. The script went through over 100 revisions, and at one point the film was a musical. However, the songs were continually being shortened and the idea was dropped. Groening described his desire to also make the film dramatically stronger than a TV episode, saying that he wanted to "give you something that you haven't seen before".
Animation
Animation for the film began in January 2006, with the Itchy & Scratchy short being the first scene to be storyboarded. Groening rejected making either a live-action or a CGI film, calling the film's animation "deliberately imperfect" and "a tribute to the art of hand-drawn animation". The film was produced in a widescreen 2.40:1 aspect ratio, to distinguish it from the look of the television series, and colored with the largest palette the animators ever had available to them. A lot of the animation was produced using Wacom Cintiq tablets, which allowed images to be drawn directly onto a computer monitor to facilitate production. Animation production work was divided among four studios around the world: Film Roman in Burbank, California, Rough Draft Studios in Glendale, California, and AKOM and Rough Draft's division in Seoul, South Korea. As with the television series, the storyboarding, characters, background layout, and animatic parts of production, were done in America. The overseas studios completed the inbetweening, digital ink and paint, and rendered the animation to tape before being shipped back to the United States.
Director David Silverman said that unlike the TV series where "you [have] to pick and choose", the film gave them the opportunity to "lavish that attention [on] every single scene". The characters have shadows, unlike in the show. Silverman and the animators looked to films such as The Incredibles, The Triplets of Belleville, and Bad Day at Black Rock for inspiration, as they were "a great education in staging because of how the characters are placed". They also looked for ideas for a dream sequence, in Disney films such as Dumbo and the Pluto cartoon Pluto's Judgment Day and for crowd scenes in It's a Mad, Mad, Mad, Mad World. Silverman looked at some of the Simpsons episodes he had directed, primarily his two favorites, "Homie the Clown" and "Three Men and a Comic Book". Mike B. Anderson, Lauren MacMullan, Rich Moore and Steven Dean Moore each directed the animation for around a quarter of the film under Silverman's supervision, with numerous other animators working on scenes.
Casting
For inspiration for the crowd scenes in the film, the production staff referenced a poster featuring more than 320 Simpsons characters. Groening said they tried to include every single character in the film, with 98 having speaking parts, and most members of the crowds being previously established characters instead of generic people. The series' regular voice actors: Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria and Harry Shearer, as well as semi-regular performers Tress MacNeille, Pamela Hayden, Marcia Wallace, Maggie Roswell, Russi Taylor and Karl Wiedergott, reprised their roles. Joe Mantegna returned as Fat Tony, while Albert Brooks, who supplied many guest voices in episodes, was cast as the main antagonist Russ Cargill after he told the staff that he wanted to be part of the film. For "about a week", Brooks was to reprise the role of Hank Scorpio, but when the character was omitted from the film, he ended up voicing Cargill himself.
The cast did the first of three table readings in May 2005, and began recording every week from June 2006 until the end of production. James L. Brooks directed them for the first time since the television show's early seasons. Castellaneta found the recording sessions "more intense" than recording the television series and "more emotionally dramatic". Some scenes, such as Marge's video message to Homer, were recorded over one hundred times, leaving the voice cast exhausted.
The writers had written the opening concert scene without a specific band in mind. Green Day were cast in that role having requested to guest star in the show. Tom Hanks also appears as himself in the film and accepted the offer after just one phone call. Everybody Loves Raymond creator Philip Rosenthal provides the voice of the father in the "new Grand Canyon" commercial with Hanks. Due to time restraints, several guests who had recorded parts were cut from the film. Minnie Driver recorded the part of a patronizing grievance counselor in a scene that ended up being cut. Edward Norton recorded the part of the man who gets crushed as the dome is implemented, performing a Woody Allen impression. The staff felt the voice was too distracting, so Castellaneta re-recorded Norton's dialogue with a different voice. Isla Fisher and Erin Brockovich also recorded cameos, but their scenes were cut. Kelsey Grammer recorded lines for Sideshow Bob, who was to appear at several different points, but these scenes were also cut. Johnny Knoxville was also touted as a possible guest star.
Although he does not provide the voice, Arnold Schwarzenegger is president of the United States rather than then-President George W. Bush because, according to Groening, "in two years ... the film [would be] out of date". Brooks was nervous about the idea, noting that "[Schwarzenegger's] opinion polls were way down", and has said that they "were [hoping] he'd make a political comeback". The animators began by drawing an accurate caricature of Schwarzenegger, but one of the staff instead suggested an altered version of recurring character Rainier Wolfcastle as President. This idea was developed, with the design of Wolfcastle, himself also a caricature of Schwarzenegger, being given more wrinkles under his eyes and a different hairstyle.
Editing
Every aspect of the film was constantly analyzed, with storylines, jokes and characters regularly being rewritten. Although most animated films do not make extensive changes to the film during active production due to budget restrictions, The Simpsons Movie crew continued to edit their film into 2007, with some edits taking place as late as May, two months before the film was released. James L. Brooks noted, "70 percent of the things in [one of the trailers]—based on where we were eight weeks ago—are no longer in the movie." Groening said that enough material for two more films was cut. Various new characters were created, and then cut because they did not contribute enough. Originally Marge was the character who had the prophetic vision in church. The writers however considered this to be too dark and it was changed to Grampa. The role of Lisa's love interest Colin was frequently revised. He was previously named Dexter and Adrien, and his appearance was completely altered. One idea was to have Milhouse act as Lisa's love interest, but the writers realized "the audience was not as familiar with [his] long-standing crush on [Lisa] as [they had] thought". A car chase in which Homer throws flaming mummies out of a truck at the EPA was replaced with "more emotional and realistic" scenes at the motel and carnival that allowed for a change of pace. The scene of a naked Bart on his skateboard was Groening's idea, who had always wanted to have Bart skateboarding naked, and Scully had the idea of showing Bart's penis for two seconds. Storyboard Michael Archer was credited for devising the way to cover Bart's genitals with different things before they are exposed to the viewer. While the crew agreed that the gag would be funny, they wondered it if would mean an R-rating for the film, as they were happy with a PG-13 rating and that gag was nonsexual and silly. They were ultimately to get away with the joke because it wasn't live-action nor was it Homer's genitals.
Further changes were made after the March 2007 preview screenings of the film in Portland, Oregon and Phoenix, Arizona. This included the deletion of Kang and Kodos heavily criticizing the film during the end credits. A lot of people at the screenings found the original film too coarse, and some of Homer's behavior too unkind, so several scenes were toned down to make him appear nicer. Russ Cargill was redesigned several times, originally appearing as an older man whose speech patterns Albert Brooks based on Donald Rumsfeld. The older model was the one used by Burger King for the action figure. Cargill's scene with Bart and Homer at the film's conclusion was added in to fully resolve his story, and the "Spider-Pig" gag was also a late addition. One excised scene, before the dome is put over Springfield, had Mr. Burns reminding viewers that it was the last point in the film that they could get a refund. Other deletions included Homer's encounter with a sausage truck driver, which was featured on the DVD, a scene with Plopper the pig at the end, and a news report, showing the dome's effect on daily life in Springfield in areas such as farming and sport, was cut because it did not fit the overall context of the film. Several musical numbers, at various intervals throughout the film, were cut. These included a song about Alaska, featuring music by Dave Stewart of Eurythmics. Jean said it "got pretty far along in the animation, and then we got scared that the movie began to drag in that section."
Music
Producer James L. Brooks chose Hans Zimmer to compose the film's score, as they were good friends and regular collaborators. Zimmer felt that the score was a "unique challenge", and he had to "try and express the style of The Simpsons without wearing the audience out". He used Danny Elfman's original opening theme, but did not wish to overuse it. He created themes for each member of the family. Homer's leitmotif was a major focus, and Zimmer also composed smaller themes for Bart and Marge. Regular television series composer Alf Clausen was not asked to score the film, noting: "sometimes you're the windshield, sometimes you're the bug".
In addition to their appearance in the film, Green Day recorded its own version of the Simpsons theme, and released it as a single. Zimmer turned the Spider-Pig song into a choral piece, which was a joke he never intended to be put into the film. Zimmer also had to write foreign-language lyrics for the 32 dubbed versions of the song when the film was released internationally. He found translating the song into Spanish the hardest to write. The same choir learned to sing the piece for each of the foreign-language dubs.
Themes
Al Jean described the film's message as being "a man should listen to his wife". In addition, the film parodies two major contemporary issues, religion and environmentalism. The theme of environmentalism is present throughout the film: in Homer's polluting of Lake Springfield, Green Day's cameo, Lisa's activism and her romance with Colin. The villainous Russ Cargill is head of the Environmental Protection Agency. Reviewer Ed Gonzalez argued the plot was a satire of the government's reaction to the effects of Hurricane Katrina on New Orleans. Ian Nathan of Empire magazine criticized this focus, believing it gave the film an "overt political agenda [which] border[s] on polemic". James D. Bloom of Muhlenberg College commented on the "explicitness" of the film's "intellectual agenda", on this issue, shown particularly through Lisa. He wrote that the film's first post-opening credits scene, which sees Green Day fail in an attempt to engage their audience on the issue of the environment, "sets in motion a plot expressly built around cultural agenda-setting" and "reflection on timely 'issues'."
Religion is focused on in Grampa's momentary possession, and Marge believing what he said to be a message from God. Groening joked the film "posit[s] the existence of a very active God", when asked if he believed it was likely to offend. Mark I. Pinsky, author of The Gospel According to The Simpsons, said the film "treats genuine faith with respect, while keeping a sharp eye out for religious pretension and hypocrisy of all kinds". Regarding the scene where the tenants of Moe's Tavern and the Church switch locations, he believed it took the "chance to unmask everyone's human fallibility." In analyzing the role of Ned Flanders, he wrote, "It is [the] willingness of The Simpsons to depict all the different sides of us [...] that makes it so rich and funny on our complicated relationship with religion." Trees are a motif in the film, and they were implemented in every important or emotional scene throughout the film. The animators inserted an apple tree behind Lisa and Colin during their initial meeting, which was a reference to the biblical figures of Adam and Eve and the Garden of Eden.
Cultural references
Many cultural references and allusions are made throughout the film. Green Day play "Nearer, My God, to Thee" on violins as their barge sinks, in a sequence parodying the film Titanic. When Bart is riding his skateboard naked, different passing objects are almost constantly covering his genitalia, a nod to similar techniques used in Austin Powers: International Man of Mystery. Homer and Marge's love scene parodies many Disney films, including Cinderella, with Disney-style animals helping them undress. Originally, the music from The Wizard of Oz was used in that scene, and the fawn had white spots; these were removed because the animators felt it resembled Bambi too clearly. Bart impersonates Mickey Mouse on the train, calling himself "the mascot of an evil corporation". Homer plays Grand Theft Walrus, an allusion to the video game series Grand Theft Auto. In the game, his character shoots a tap-dancing penguin in reference to the film Happy Feet. The "Spider-Pig" song is a parody of the theme song of the 1967 Spider-Man TV series, and the name of Lisa's lecture is An Irritating Truth, a play on Al Gore's film An Inconvenient Truth. The bomb disposal robot was based on Vincent D'Onofrio's character Leonard "Pyle" Lawrence from the film Full Metal Jacket, who commits suicide in a similar way. At the end of the film, the crowd's celebration is similar to the conclusion of Return of the Jedi, with Carl performing exactly the same hand gestures as Lando Calrissian.
The $1,000 Homer received when entering Alaska is a reference to the Alaska Permanent Fund Dividend. As Homer leaves Eski-Moe's he grabs on to a passing truck and uses it to propel himself back to the house, a tribute to actor Buster Keaton, while the epiphany scene features homages to the film Brazil and the works of Salvador Dalí. Hillary Clinton appears as Itchy's vice president, while an Orc from The Lord of the Rings appears in the mob scene. A scene that was cut had Marge and the kids appear on the TV talk show The View to spread the news of Springfield's impending doom. Parts were written for the show's entire panel and the scene was planned to feature Russ Cargill having a gunfight with Joy Behar. Another dropped scene featured Moe describing Springfield's varying physical states inside the dome, one of which was the Disneyland ride Autopia. There are several references to events in previous TV episodes of The Simpsons. These include the wreckage of the ambulance from the episode "Bart the Daredevil" crashed into a tree next to Springfield Gorge. The Carpenters' song "(They Long to Be) Close to You" was used in Homer and Marge's wedding video and had also been used in several emotional moments between them in the TV series.
Release
Theatrical
On April 1, 2006, 20th Century Fox announced that the film would be released worldwide on July 27, 2007. The film was released a day earlier in Australia and the United Kingdom. Little information about the plot was released in the weeks building up to the film's release. Groening did not feel that "people look in the TV section of the newspaper and think, 'I'll watch this week's Simpsons because I like the plot.' You just tune in and see what happens."
Fox held a competition among 16 Springfields across the United States to host the American premiere. Each Springfield produced a film, explaining why their town should host the premiere, with the results being decided via a vote on the USA Today website. Springfield, Minnesota dropped out on May 31, 2007. The winner was announced on July 10 to be Springfield, Vermont. The town beat Springfield, Illinois by 15,367 votes to 14,634. Each of the other 14 entrants held their own smaller screenings of the film on July 26. Springfield, Vermont hosted the world premiere of the film on July 21 with a yellow carpet instead of the traditional red.
The film was rated PG-13 by the Motion Picture Association of America for "irreverent humor throughout"; the production staff had expected this rating. However, the British Board of Film Classification passed the film as a PG with no cuts made. A BBFC spokeswoman said regarding Bart's brief nude scene, "natural nudity with no sexual content is acceptable in PG films". The film was banned in Myanmar, not for the scene of nudity, but for the excessive use of the colors yellow and red, which is prohibited in the country.
Marketing
The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion.
Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away.
McFarlane Toys released a line of action figures based on the film while EA Games released The Simpsons Game to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system.
Home media
The film was released on DVD and Blu-ray Disc worldwide on December 3, 2007, and on December 18 in the United States. It contains commentary tracks from both the producers and animators, six short deleted scenes, and a selection of material used to promote the film release. An unfinished deleted scene of the townspeople singing the Springfield Anthem was also included on The Simpsons The Complete Tenth Season DVD box set.
Promotions for the DVD release occurred across the United States. The Empire State Building was illuminated yellow, the first time the building had ever been used as part of a film promotion. In the United Kingdom, Fox launched a £5 million advertising campaign. They also signed a £1.6 million deal with the yogurt company Yoplait, to produce a The Simpsons Movie design for their brand Frubes. In its first week it topped the U.S. DVD chart, and generated $11.8 million in rental revenue.
The Simpsons Movie was included on Disney+ on November 12, 2019.
Reception
Critical reception
On Rotten Tomatoes, the film has an approval rating of 87% based on 223 reviews and an average rating of 7.5/10. The site's critical consensus reads, "The Simpsons Movie contains the hearty laughs, biting satire, and honest portrayal of an American family that makes the show so popular. And it boasts slicker animation and polished writing that hearkens back to the show's glory days." On Metacritic, it received a score of 80 out of 100, based on 36 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.
British newspapers The Guardian and The Times both gave the film four out of five stars. The Times' James Bone said that it "boasts the same sly cultural references and flashes of brilliance that have earned the television series a following that ranges from tots to comparative literature PhDs". The Guardian's Peter Bradshaw stated that it "gives you everything you could possibly want" and that he thought, "Eighty-five minutes [was] not long enough to do justice to 17 years of comedy genius". Ed Gonzalez praised the film for its political message, likening the Itchy & Scratchy cartoon at the beginning to President Schwarzenegger's situation later on, as well as the film's visual gags. Randy Shulman praised the cast, and described them as having "elevated their vocal work to a craft that goes way beyond simple line readings", and particularly praised Kavner who he said "gave what must be the most heartfelt performance ever". Roger Ebert gave a positive review of three out of four stars, but admitted he was "generally [not] a fan of movies spun off from TV animation". He called it "radical and simple at the same time, subversive and good-hearted, offensive without really meaning to be". Richard Corliss of Time said that the film "doesn't try to be ruder or kinkier, just bigger and better".
USA Today film critic Claudia Puig said that the story did "warrant a full-length feature, thanks to a clever plot and non-stop irreverent humor". Patrick Kolan believed that the film was "easily the best stuff to come [from the Simpsons] since season 12 or 13" and praised the animation, but also said that the appearances of characters such as Comic Book Guy and Seymour Skinner were "small and unfunny". Kirk Honeycutt of The Hollywood Reporter praised the film's good nature, stating that the laughs "come in all sizes", but also noted that, "little has been gained bringing the Simpsons to the screen."
Variety's Brian Lowry called it "clever, irreverent, satirical and outfitted" but that it was "just barely" capable of sustaining a running time longer than a television episode. Lisa Schwarzbaum praised the voice cast but stated that the "'action' sequences sometimes falter". When comparing the film to the early episodes of the show, Stephen Rowley concluded that the film "has more going for it than the show in its later years, but is still a long way short of what made it so invigorating". The Monthly critic Luke Davies echoed Lowry's concerns about the length: "everything moves with the whip-crack speed of a half-hour episode. And that's the paradox: it makes the film feel like three episodes strung together. We're in a cinema, and we expect something epic." He opined that "in the great arc that is the history of The Simpsons, this film will come to be seen as oddity rather than apotheosis."
More negative reception came from the magazine Empire, where reviewer Ian Nathan compared the film to New Coke, saying that "it utterly failed". Phil Villarreal believed that there were "too few laugh-worthy moments" and that "instead of stretching to new frontiers, the film rests on the familiar". Sheila Johnston criticized the pacing of the film and its joke level saying that "the overall momentum flags at times" and that it was "a salvo of comic squibs, some very funny, others limp". David Edwards agreed with this, writing that although "there's a great half-hour show rattling around...the rest is padding at its very dullest", concluding that it "isn't a terrible film, just a terribly disappointing one." Cosmo Landesman believed, "the humour seem[ed] to have lost its satirical bite and wit" and that "much of the comedy is structured around the idiocy of Homer". This assessment was shared by Carina Chocano of the Los Angeles Times, who felt that "once the movie wanders into its contemplation of mortality and meaning, the trenchancy kind of creaks and falls off." She negatively compared it to South Park: Bigger, Longer & Uncut (1999), a film similarly adapted from an animated television series, saying that, in terms of satire, it offers "nothing we don't hear every night on The Daily Show with Jon Stewart." Bruce Newman criticized the fleeting appearances of many of the show's secondary characters, and found the film to be "a disappointment".
Box office
The film earned $30,758,269 on its opening day in the U.S. making it the 25th-highest, and fifth-highest non-sequel opening day revenue of all time. It grossed a combined total of $74,036,787 in its opening weekend on 5,500 screens at 3,922 theaters, reaching the top of the box office for that weekend. This made it the tenth-highest revenue of all time, for an opening weekend in July, and highest among non-sequels, and the highest animated TV adaptation of all time. This outperformed the expectations of $40 million that Fox had for the release.
It set several American box office records, including highest grossing opening weekend for a non-CG animated film and for a film based on a television series, surpassing Mission: Impossible 2. It was also the third-highest grossing opening weekend for an animated film. It opened at the top of the international box office taking $96 million from 71 overseas territories, including $27.8 million in the United Kingdom, the second-highest UK opening ever for a 20th Century Fox film. It contributed to over half of the record 5.5 million people attending British cinemas that weekend. In Australia, it grossed $13.2 million, the third-highest opening weekend in the country, and the highest for an animated film. The United Kingdom is the highest-grossing country for the film outside the US with a $78.4 million gross overall, with Germany in second place with a $36.3 million gross overall. The film closed on December 20, 2007 with a gross of $183.1 million in the United States and Canada and a worldwide gross of $536.4. It was the eighth-highest-grossing film worldwide and the twelfth-highest grossing in the United States and Canada of 2007.
Accolades
The Simpsons Movie won the award for Best Comedy Film at the British Comedy Awards, Best Animation at the inaugural ITV National Movie Awards, and Best Movie at the UK Nickelodeon Kids Choice Awards, beating Harry Potter and the Order of the Phoenix, Pirates of the Caribbean: At World's End, and Shrek the Third. The film's trailer won a Golden Trailer Award in the category Best Animated/Family Film Trailer at the 8th Annual Golden Trailer Awards. Forbes named the film the third best of the year, based on its box office takings and Metacritic critical response score. The film's website received a Webby Award at the 12th Annual Webby Awards in the category "Best Movie and Film Website".
At the 35th Annie Awards the film was nominated in four categories: Best Animated Feature, Directing in an Animated Feature Production, Writing in an Animated Feature Production, and Voice Acting in an Animated Feature Production for Julie Kavner. All four awards were won by Ratatouille. It was nominated for Best Animated Feature Film at the 65th Golden Globe Awards, the BAFTA for Best Animated Film, and the Producers Guild Award for Animated Theatrical Motion Picture. It also received nominations for the Satellite Award for Best Animated or Mixed Media Feature, the Chicago Film Critics Association Award for Best Animated Feature, and the Broadcast Film Critics Association Award for Best Animated Feature.
Before its release, the film received a nomination at the 2007 MTV Movie Awards for "Best Summer Movie You Haven't Seen Yet", with the award ultimately won by Transformers, and lost the Teen Choice Award for "Choice Summer Movie – Comedy/Musical", which was won by Hairspray. It was also nominated for Favorite Movie Comedy at the People's Choice Awards, losing to Knocked Up.
Planned sequel
In 2014, Brooks stated that he had been approached by Fox and that they had requested a second film. He added that there were no immediate plans, stating, "We've been asked to [develop it], but we haven't. We're doing a lot of other stuff." In December 2014, just prior to the broadcast of the episode "The Man Who Came to Be Dinner", Jean wrote on Twitter that the episode (which had been produced in 2012 and was originally set to air in May 2013) had been held back by himself and Brooks because it was being considered for adaptation into a sequel film as the episode was "cinematic". Jean later expanded that there was the fear of the potential film being considered "not canonical" with the TV series and the potential backlash of overcoming it by using a "memory wipe". In July 2017, Silverman and Jean said that the sequel was in the early stages of development and stressed the toll production of the first picture took on the entire staff. On August 10, 2018, it was reported that a sequel is in development. On July 22, 2019, Groening stated that he has "no doubts" that Disney will likely produce a sequel one day. In July 2021, Jean stated that discussions for the potential sequel had stalled due to the COVID-19 pandemic.
References
External links
2007 films
2007 animated films
2007 comedy films
2007 directorial debut films
2000s American animated films
20th Century Fox animated films
20th Century Fox Animation films
20th Century Fox films
American adult animated films
American films
American animated comedy films
Animated comedy films
Animated films based on animated series
Animated films based on animated television series
Animated films set in the United States
The Simpsons
English-language films
Films about dysfunctional families
Films directed by David Silverman
Films produced by James L. Brooks
Films produced by Matt Groening
Films scored by Hans Zimmer
Films set in fictional populated places
Films with screenplays by James L. Brooks
Films with screenplays by John Swartzwelder
Films with screenplays by Matt Groening
Fox Television Animation films
Gracie Films films
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[
"Kenneth Marion Powers (July 9, 1947 – February 28, 2009) was an American stuntman. Powers was born to Edward Lee and Florence Pauline Powers in Landrum, South Carolina, on July 9, 1947. He grew up in Landrum, and after high school, he joined the U.S. Navy and served as a barber according to his DD 214. He died at the Hampton Veterans Center in Hampton, Virginia on February 28, 2009. He was married to Beverly Powers at the time of his death.\n\nSt. Lawrence River jump\n\nHe is best known today for his unsuccessful October 1979 attempt to jump the Saint Lawrence River in a rocket-powered Lincoln Continental, where he took the place of stuntman Ken Carter. He suffered significant injuries including a broken back, but survived.\n\nCarter's years of planning for the \"Superjump\", and Powers's failed attempt were the subject of a 1981 documentary called The Devil at Your Heels, directed by Robert Fortier and produced by the National Film Board of Canada. According to some sources, Powers was substituted at the last minute for Carter, without Carter's knowledge, because the jump's backers feared Carter had decided the jump would not work. However, Kenny Powers and Donna Ray Powers have stated that Carter still wanted to do the jump, but the backers were concerned about Carter's health. This is the account in the official documentary of the jump. Ken Carter and Kenny Powers remained friends until his death.\n\nVideo of the stunt also appeared on the American television show That's Incredible!, as well as the 1981 film Faces of Death II. A four-minute clip of the stunt taken from Faces of Death II was uploaded to YouTube in 2006, causing renewed popularity.\n\nThe stunt has been featured in the Heavyweight Podcast by Jonathan Goldstein titled \"Kenny\" and the Dollop Podcast. In addition, the stunt has inspired a musical film titled Aim for the Roses, scored by Mark Haney.\n\nOther work\n\nPowers worked for and with Carter for many years, and also claimed to have performed stunts for Hollywood, including in the 1970s films Smokey and the Bandit, Vanishing Point, and Hooper. However, he is not listed in any movie credits. Kenny did stunt work for the Ken Carter team during the time that Smokey and the Bandit was filmed as the team prepared for the 1979 Super Jump. According to Butch Carter, Ken Carter's brother who also did stunt work for the team, the team was considered for the stunt work in Smokey and the Bandit, but another team was selected. According to Butch Carter and other team members, Kenny worked for the Ken Carter team the whole time of the filming of Smokey and the Bandit.\n\nStuntman Kenny Powers was a phenomenal stuntman. He was a caring, loving, and benevolent person. However, he struggled with problems due to alcohol and drug abuse his whole adult life. Kenny did in fact publicly make claims to have done stunts in movies. He was delusional about many things, especially in the last years of his life (Information from Beverly Powers). He continued to perform stunts until at least 2005. Kenny did 2 stunts in August of 2004. One was in Dothan, Alabama and the other stunt was done in Greenville, Alabama. Kenny did his next to last stunt in Timmonsville, S.C. on August 19, 2006. His last stunt was in Greenville, Alabama on August 26, 2006 (Information from Beverly Powers).\n\nReferences\n\nExternal links\n \nHeavyweight Podcast Episode #13: Kenny\n\n1947 births\n2009 deaths\nAmerican stunt performers\nPeople from Spartanburg County, South Carolina",
"Peter Brace (30 August 1924 – 29 October 2018) was a British film actor and stunt performer who worked alongside actors like Sean Connery, Roger Moore, Richard Burton and Michael Caine in a career that lasted nearly half a century and took in more than 100 credits on the big and small screen.\n\nBrace was born at Southwark in south-east London.\n\nHe made his film debut at the age of 23 in Ken Annakin's Holiday Camp (1947). His name was unfamiliar to the general public, but his face and size (6 ft 4 in tall) made him instantly recognizable. He was a stunt performer and minor actor in the following James Bond films: Dr. No (1962), From Russia with Love (1963), Goldfinger (1964), Casino Royale (1967) and You Only Live Twice (1967). He also acted and did stunt work in films such as Ivanhoe (1952), A Night to Remember (1958), Lawrence of Arabia (1962), Where Eagles Dare (1968), Star Wars (1977), Flash Gordon (1980), Raiders of the Lost Ark (1981), Indiana Jones and the Temple of Doom (1984), Highlander (1986), Willow (1988), Batman (1989), Robin Hood: Prince of Thieves (1991), Chaplin (1992) and Braveheart (1995). Brace was the stunt double for Clancy Brown (the villain Kurgan) in Highlander and Peter Mayhew (Chewbacca) in Star Wars.\n\nPersonal life \nBrace died on 29 October 2018 at the age of 94.\n\nPartial filmography\n\nHoliday Camp (1947) - Jitterbug at Camp Dance (uncredited)\nDick Barton: Special Agent (1948) - Henchman (uncredited)\nIt's Not Cricket (1949) - Bar Patron (uncredited)\nIvanhoe (1952) - Archer (uncredited)\nAppointment in London (1953) - RAF officer (uncredited)\nThe Red Beret (1953) - MP (uncredited)\nGeordie (1955) - GB team member (uncredited)\nReach for the Sky (1956) - German soldier (uncredited)\nTown on Trial (1957) - Molly's Boyfriend in Photo (uncredited)\nIll Met by Moonlight (1957) - German soldier (uncredited)\nQuatermass 2 (1957) - Guard (uncredited)\nBlue Murder at St. Trinian's (1957) - New teacher (uncredited)\nA Night to Remember (1958) - Stoker (uncredited)\nDanger Within (1959) - P.O.W. (uncredited)\nBeyond This Place (1959) - Pub Customer (uncredited)\nThe Challenge (1960) - Thug (uncredited)\nFury at Smugglers' Bay (1961) - Smuggler (uncredited)\nCrooks Anonymous (1962) - Man in Labour Exchange (uncredited)\nWe Joined the Navy (1962) - Leather Jacket Rebel (uncredited)\nDr. No (1962, Stunts)\nLawrence of Arabia (1962, Stunts)\nCaptain Sindbad (1963)\nFrom Russia with Love (1963, Stunts)\nThe Masque of the Red Death (1964) - Guard (uncredited)\nGoldfinger (1964, Stunts) - South America Guard (uncredited)\nCircus of Fear (1966) - Man in Speedboat\nThe Sandwich Man (1966) - Workman (uncredited)\nDeadlier Than the Male (1967) - Car Park Assassin (uncredited)\nDon't Lose Your Head (1967) - Soldier (uncredited)\nCasino Royale (1967, Stunts) - Cowboy (uncredited)\nYou Only Live Twice (1967, Stunt driver)\nA Challenge for Robin Hood (1967) - Outlaw (uncredited)\nAttack on the Iron Coast (1968) - Commando (uncredited)\nThe Devil Rides Out (1968) - Satanist (uncredited)\nSome Girls Do (1969) - Petersen Bodyguard - Darker Hair (uncredited)\nWhere Eagles Dare (1968, Stunts)\nCrooks and Coronets (1969) - Casino Security (uncredited)\nWhen Eight Bells Toll (1971, Stunts) - Thug (uncredited)\nPuppet on a Chain (1971) - Thug (uncredited)\nTommy (1975) - Man with Knife (uncredited)\nRevenge of the Pink Panther (1976) - 2nd Kidnapper\nCandleshoe (1977) - Charlie (uncredited)\nStar Wars (1977, Chewbacca's stunt double)\nForce 10 from Navarone (1978) - MP (uncredited)\nFlash Gordon (1980) - Ming's Brute\nSuperman II (1980) - Man in Street (uncredited)\nRaiders of the Lost Ark (1981, Stunts)\nCurse of the Pink Panther (1983, Stunts) - Bruno's Crony #1\nIndiana Jones and the Temple of Doom (1984, Stunts)\nHighlander (1986, Kurgan's stunt double)\nWillow (1988, Stunts)\nRobin Hood: Prince of Thieves (1991, Stunts)\nChaplin (1992, Stunt coordinator (UK))\nBraveheart (1995, Stunts)\n\nReferences\n\nExternal links\n \n\nEnglish stunt performers\n1924 births\n2018 deaths\nBritish actors\nPeople from Southwark"
] |
[
"The Simpsons Movie",
"Marketing",
"how much did marketing cost?",
"The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million.",
"Was there any stunts in marketing?",
"Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion.",
"Are there any other interesting aspects about this article?",
"20th Century Fox erected a \"giant pink donut\" in the town of Springfield in Canterbury, New Zealand",
"What other marketing schemes happened?",
"in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station.",
"Did any stunts not work?",
"I don't know."
] |
C_d89de81934a1413f801b02acd1dedcf4_1
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How much did they spend in marketing the movie?
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How much did 20th Century Fox spend in marketing The Simpsons Movie?
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The Simpsons Movie
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The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion. Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away. McFarlane Toys released a line of action figures based on the film, EA Games released The Simpsons Game, to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system. CANNOTANSWER
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CANNOTANSWER
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The Simpsons Movie is a 2007 American animated comedy film based on the long-running animated sitcom The Simpsons. The film was directed by the show's supervising director David Silverman and stars the show's regular cast of Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Harry Shearer, Tress MacNeille, Pamela Hayden, Karl Wiedergott, Marcia Wallace, Maggie Roswell, Russi Taylor, Joe Mantegna, and Albert Brooks. The film follows Homer Simpson, who irresponsibly pollutes the lake in Springfield, causing the Environmental Protection Agency (EPA) to imprison the town under a giant glass dome. After he and his family escape, they ultimately abandon Homer for his selfishness and return to Springfield to prevent the town’s demolition by Russ Cargill, head of the EPA. Homer works to redeem his folly by returning to Springfield himself in an effort to save it.
Although previous attempts to create a Simpsons film had been made, they failed due to the lack of lengthy script and production crew members. Eventually in 2001, producers James L. Brooks, Matt Groening, Al Jean, Mike Scully and Richard Sakai began development of the film and a writing team consisting of Brooks, Groening, Jean, Scully, Ian Maxtone-Graham, George Meyer, David Mirkin, Mike Reiss, Matt Selman, John Swartzwelder and Jon Vitti was assembled. They conceived numerous plot ideas, with Groening's being the one adapted. The script was rewritten over a hundred times, also continuing after work on the animation began in 2006. Consequently, hours of finished material was cut from the final release, including cameo roles from Erin Brockovich, Minnie Driver, Isla Fisher, and Edward Norton (as well as Kelsey Grammer, who would have reprised his role as Sideshow Bob). Tom Hanks and the members of Green Day voice their own animated counterparts in the final cut of the film, while Albert Brooks, a frequent guest performer on the series, provides the voice of its main antagonist, Russ Cargill.
Tie-in promotions were made with several companies to promote the film's release, including Burger King and 7-Eleven, the latter of which transformed selected stores into Kwik-E-Marts. The film premiered in Springfield, Vermont on July 21, 2007 and was released theatrically six days later by 20th Century Fox across the United States. The Simpsons Movie received positive reviews and grossed $536.4 million worldwide, became the eighth highest-grossing film of 2007, the second highest-grossing traditionally animated film (behind Walt Disney Animation Studios' The Lion King), and the highest-ever grossing film based on an animated television series. The film received praise for its humor, emotional weight, and callbacks to early seasons. The film was nominated for numerous awards, including a Golden Globe Award for Best Animated Feature Film at the 65th Golden Globe Awards.
Plot
One summer on Lake Springfield, Green Day, after finishing a concert, try to engage the audience in a discussion about the environment, angering the audience into throwing garbage at them, causing the pollution in the lake to erode and sink the band's barge, drowning them. During their memorial at Reverend Lovejoy's church, Grampa Simpson has a spiritual experience and frantically prophesies that a disaster will befall Springfield, but only Marge takes it seriously. Concerned about the terrible state of the environment, Lisa and her new love interest, Colin, hold a seminar where they successfully convince Mayor Quimby to tell the town to clean up the lake. Meanwhile, after a series of dares, including one with Bart skateboarding across Springfield naked and getting in trouble with Chief Wiggum, Homer and Bart go to Krusty Burger, where Homer adopts a pig that Krusty the Clown was about to have killed. Marge, identifying the pig as a part of Grampa's prophecy, warns Homer to get rid of it, but Homer refuses. Homer's fawning over the pig makes Bart, now fed up with his father's carelessness, look to their neighbor, Ned Flanders, as a father figure.
Homer stores the pig's feces in an overflowing silo, disgusting Marge. Homer attempts to dispose of it safely at Marge's request, but his friend Lenny calls him to inform him about Lard Lad Donuts giving away all their donuts for free due to failing a health inspection. In a rush to get to the giveaway, Homer dumps the silo in the lake, critically polluting it. Moments later, a squirrel stumbles into it and becomes severely mutated. While bonding on a hike, Bart and Flanders notice the squirrel, which the EPA capture. Russ Cargill, head of the EPA, informs President Arnold Schwarzenegger on Springfield's pollution crisis and presents five solutions. Without reading them, the president randomly picks the third solution: imprisoning Springfield under a giant glass dome. When Homer's silo is discovered, the townspeople, including Grampa, the school staff, the Simpsons' friends and neighbors, except for the Flanders and Colin, form an angry mob, ransack their house and attempt to lynch them. The family escapes through a sinkhole that Homer hid using Maggie's sandbox, which destroys the house soon after. The family flees to Alaska using a truck that Lisa helps Homer win at a contest, where they try to restart their life.
Within ninety three days, Springfield completely exhausts its daily supplies and the townspeople go crazy as they attempt to escape from the dome using brute force to destroy it, causing cracks to form. Cargill, not wanting news of what he has done to spread around the world, plots to destroy Springfield by tricking the president into choosing a solution that involves its demolition. The Simpsons see a television advertisement for a new Grand Canyon on the site of Springfield. Realizing that their hometown is in danger, the family decide to save it except for Homer, who objects to helping the people who had turned on them. The family soon abandons Homer for his selfishness, with Marge leaving behind a recorded video about it, causing him to run off in search of them. The family are captured by the EPA and placed back inside the dome. After an encounter with a mysterious Inuit shaman who saves him from a polar bear, Homer has an epiphany about saving the town in order to save himself.
Homer returns home and learns about his family's capture as a helicopter lowers a time bomb suspended by a rope through a hole at the top of the dome. Homer enters the dome and descends the rope, knocking the escaping townspeople and the bomb off, inadvertently shortening its countdown, much to the townspeople's anger. After reuniting and reconciling with Bart, they use a motorcycle to travel up the side of the dome and throw the bomb through the hole seconds before it detonates, shattering the dome and freeing the town. Homer and Bart land safely at Springfield Gorge where a shotgun-wielding Cargill confronts them and attempts to shoot them for foiling his plan. But before he can do so, Maggie knocks him out by dropping a large rock on his head. The townspeople praise and forgive Homer, who reconciles with Marge as Springfield begins restoration.
Cast
Dan Castellaneta as Homer Simpson, Abe Simpson, Krusty the Clown, Groundskeeper Willie, Mayor Quimby, Sideshow Mel, Mr. Teeny, EPA Official, Itchy, Barney Gumble, Stage Manager, Blue Haired Lawyer, Multi-Eyed Squirrel, Hans Moleman, Panicky Man, Kissing Cop, Bear, Boy on Phone, NSA Worker, Officer, Rich Texan, Santa's Little Helper, and Squeaky-Voiced Teen
Julie Kavner as Marge Simpson, Selma Bouvier, and Patty Bouvier
Nancy Cartwright as Bart Simpson, Ralph Wiggum, Todd Flanders, Nelson Muntz, Maggie Simpson, TV Daughter, Woman on Phone, and Kearney Zzyzwicz
Yeardley Smith as Lisa Simpson
Hank Azaria as Moe Szyslak, Chief Wiggum, Cletus Spuckler, Professor Frink, Apu Nahasapeemapetilon, Lou, Comic Book Guy, Captain McCallister, Bumblebee Man, Dr. Nick, Carl, Male EPA Worker, Dome Depot Announcer, Kissing Cop, Carnival Barker, Gas Station Clerk, Drederick Tatum, EPA Passenger, Robot, and Wiseguy
Harry Shearer as Mr. Burns, Smithers, Ned Flanders, Reverend Lovejoy, Lenny, President Arnold Schwarzenegger, Seymour Skinner, Kent Brockman, Dr. Hibbert, Otto Mann, Scratchy, Skull, Toll Booth Operator, and Guard
Pamela Hayden as Milhouse Van Houten, Rod Flanders, and Jimbo Jones
Tress MacNeille as Medicine Woman, Agnes Skinner, Crazy Cat Lady, Colin, Cookie Kwan, Sweet Old Lady, Mrs. Muntz, Plopper, Female EPA Worker, Lindsey Neagle, GPS Voice, TV Son, Girl on Phone, and Dolph Starbeam
Albert Brooks (as "A. Brooks") as Russ Cargill
Karl Wiedergott as EPA Officer and Man
Marcia Wallace as Edna Krabappel (scenes deleted)
Russi Taylor as Martin Prince
Maggie Roswell as Helen Lovejoy and Miss Hoover
Phil Rosenthal as TV Dad
Billie Joe Armstrong, Frank Edwin Wright III, and Michael Pritchard as Green Day (themselves)
Joe Mantegna as Fat Tony
Tom Hanks as himself
Additional voices are done by Castellaneta, Kavner, Cartwright, Smith, Azaria, Shearer, Hayden, MacNeille, Wiedergott, Wallace, Taylor, and Roswell
Production
Development
The production staff had considered a film adaptation of The Simpsons since early in the series. The show's creator, Matt Groening, felt a feature-length film would allow them to increase the show's scale and animate sequences too complex for the TV series. He intended the film to be made after the show ended, "but that [...] was undone by good ratings". There were attempts to adapt the fourth season episode "Kamp Krusty" into a film, but difficulties were encountered in expanding the episode to feature-length. For a long time the project was held up. There was difficulty finding a story that was sufficient for a film, and the crew did not have enough time to complete such a project, as they already worked full-time on the show. Groening also expressed a wish to make Simpstasia, a parody of Fantasia; it was never produced, partly because it would have been too difficult to write a feature-length script. At another point, it was briefly suggested to do an anthology-style Treehouse of Horror film, but such suggestion was never pursued. Recurring guest performer Phil Hartman had wished to make a live-action film based on his character Troy McClure; several of the show's staff expressed a desire to help create it, and Josh Weinstein proposed to use the plot of the 1996 episode "A Fish Called Selma" for the film, but the project was cancelled following Hartman's death in 1998.
The voice cast was signed on to do the film in 2001, and work then began on the script. The producers were initially worried that creating a film would have a negative effect on the series, as they did not have enough crew to focus their attention on both projects. As the series progressed, additional writers and animators were hired so that both the show and the film could be produced at the same time. Groening and James L. Brooks invited back Mike Scully and Al Jean (who continued to work as showrunner on the television series) to produce the film with them. They then signed David Silverman (who, in anticipation of the project, had quit his job at Pixar) to direct the film. The "strongest possible" writing team was assembled, with many of the writers from the show's early seasons being chosen. David Mirkin, Mike Reiss, George Meyer, John Swartzwelder, and Jon Vitti were selected. Ian Maxtone-Graham and Matt Selman joined later, and Brooks, Groening, Scully, and Jean also wrote parts of the script. Sam Simon did not return having left the show over creative differences in 1993. Former writer Conan O'Brien expressed interest in working with the Simpsons staff again, although he later joked that "I worry that the Simpsons-writing portion of my brain has been destroyed after 14 years of talking to Lindsay Lohan and that guy from One Tree Hill, so maybe it's all for the best." The same went for director Brad Bird who said he had "entertained fantasies of asking if [he] could work on the movie", but did not have enough time due to work on Ratatouille. The producers arranged a deal with Fox that would allow them to abandon production of the film at any point if they felt the script was unsatisfactory.
Work continued on the screenplay from late 2003 onwards, taking place in the small bungalow where Groening first pitched The Simpsons in 1987. The writers spent six months discussing a plot, and each of them offered sketchy ideas. On their first brainstorming session, Scully suggested a story in which Steven Spielberg (intended to be voiced by Spielberg himself) would try to blow up Springfield so he can shoot a film with Tom Hanks (who ultimately made a guest appearance voicing himself in the finished film). It was also on this same reunion that Groening introduced the idea of Homer adopting a pet pig, inspired by a pig-waste management story he had read in the news. Jean suggested the family rescue manatees, which became the 2005 episode "The Bonfire of the Manatees", and there was also a notion similar to that of The Truman Show where the characters discovered their lives were a TV show. Groening rejected this, as he felt that the Simpsons should "never become aware of themselves as celebrities", but the idea was later used in the video game The Simpsons Game. Groening read about a town that had to get rid of pig feces in their water supply, which inspired the plot of the film. The decision for Flanders to have an important role also came early on, as Jean wished to see Bart wonder what his life would be like if Flanders were his father. Hank Scorpio, a character from the 1996 episode "You Only Move Twice", was originally meant to return as the main antagonist, but the staff dropped the idea and created Russ Cargill instead. Having eventually decided on the basic outline of the plot for the film, the writers then separated it into seven sections. Jean, Scully, Reiss, Swartzwelder, Vitti, Mirkin, and Meyer wrote 25 pages each, and the group met one month later to merge the seven sections into one "very rough draft". The film's script was written in the same way as the television series: the writers sitting around a table, pitching ideas, and trying to make each other laugh. The script went through over 100 revisions, and at one point the film was a musical. However, the songs were continually being shortened and the idea was dropped. Groening described his desire to also make the film dramatically stronger than a TV episode, saying that he wanted to "give you something that you haven't seen before".
Animation
Animation for the film began in January 2006, with the Itchy & Scratchy short being the first scene to be storyboarded. Groening rejected making either a live-action or a CGI film, calling the film's animation "deliberately imperfect" and "a tribute to the art of hand-drawn animation". The film was produced in a widescreen 2.40:1 aspect ratio, to distinguish it from the look of the television series, and colored with the largest palette the animators ever had available to them. A lot of the animation was produced using Wacom Cintiq tablets, which allowed images to be drawn directly onto a computer monitor to facilitate production. Animation production work was divided among four studios around the world: Film Roman in Burbank, California, Rough Draft Studios in Glendale, California, and AKOM and Rough Draft's division in Seoul, South Korea. As with the television series, the storyboarding, characters, background layout, and animatic parts of production, were done in America. The overseas studios completed the inbetweening, digital ink and paint, and rendered the animation to tape before being shipped back to the United States.
Director David Silverman said that unlike the TV series where "you [have] to pick and choose", the film gave them the opportunity to "lavish that attention [on] every single scene". The characters have shadows, unlike in the show. Silverman and the animators looked to films such as The Incredibles, The Triplets of Belleville, and Bad Day at Black Rock for inspiration, as they were "a great education in staging because of how the characters are placed". They also looked for ideas for a dream sequence, in Disney films such as Dumbo and the Pluto cartoon Pluto's Judgment Day and for crowd scenes in It's a Mad, Mad, Mad, Mad World. Silverman looked at some of the Simpsons episodes he had directed, primarily his two favorites, "Homie the Clown" and "Three Men and a Comic Book". Mike B. Anderson, Lauren MacMullan, Rich Moore and Steven Dean Moore each directed the animation for around a quarter of the film under Silverman's supervision, with numerous other animators working on scenes.
Casting
For inspiration for the crowd scenes in the film, the production staff referenced a poster featuring more than 320 Simpsons characters. Groening said they tried to include every single character in the film, with 98 having speaking parts, and most members of the crowds being previously established characters instead of generic people. The series' regular voice actors: Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria and Harry Shearer, as well as semi-regular performers Tress MacNeille, Pamela Hayden, Marcia Wallace, Maggie Roswell, Russi Taylor and Karl Wiedergott, reprised their roles. Joe Mantegna returned as Fat Tony, while Albert Brooks, who supplied many guest voices in episodes, was cast as the main antagonist Russ Cargill after he told the staff that he wanted to be part of the film. For "about a week", Brooks was to reprise the role of Hank Scorpio, but when the character was omitted from the film, he ended up voicing Cargill himself.
The cast did the first of three table readings in May 2005, and began recording every week from June 2006 until the end of production. James L. Brooks directed them for the first time since the television show's early seasons. Castellaneta found the recording sessions "more intense" than recording the television series and "more emotionally dramatic". Some scenes, such as Marge's video message to Homer, were recorded over one hundred times, leaving the voice cast exhausted.
The writers had written the opening concert scene without a specific band in mind. Green Day were cast in that role having requested to guest star in the show. Tom Hanks also appears as himself in the film and accepted the offer after just one phone call. Everybody Loves Raymond creator Philip Rosenthal provides the voice of the father in the "new Grand Canyon" commercial with Hanks. Due to time restraints, several guests who had recorded parts were cut from the film. Minnie Driver recorded the part of a patronizing grievance counselor in a scene that ended up being cut. Edward Norton recorded the part of the man who gets crushed as the dome is implemented, performing a Woody Allen impression. The staff felt the voice was too distracting, so Castellaneta re-recorded Norton's dialogue with a different voice. Isla Fisher and Erin Brockovich also recorded cameos, but their scenes were cut. Kelsey Grammer recorded lines for Sideshow Bob, who was to appear at several different points, but these scenes were also cut. Johnny Knoxville was also touted as a possible guest star.
Although he does not provide the voice, Arnold Schwarzenegger is president of the United States rather than then-President George W. Bush because, according to Groening, "in two years ... the film [would be] out of date". Brooks was nervous about the idea, noting that "[Schwarzenegger's] opinion polls were way down", and has said that they "were [hoping] he'd make a political comeback". The animators began by drawing an accurate caricature of Schwarzenegger, but one of the staff instead suggested an altered version of recurring character Rainier Wolfcastle as President. This idea was developed, with the design of Wolfcastle, himself also a caricature of Schwarzenegger, being given more wrinkles under his eyes and a different hairstyle.
Editing
Every aspect of the film was constantly analyzed, with storylines, jokes and characters regularly being rewritten. Although most animated films do not make extensive changes to the film during active production due to budget restrictions, The Simpsons Movie crew continued to edit their film into 2007, with some edits taking place as late as May, two months before the film was released. James L. Brooks noted, "70 percent of the things in [one of the trailers]—based on where we were eight weeks ago—are no longer in the movie." Groening said that enough material for two more films was cut. Various new characters were created, and then cut because they did not contribute enough. Originally Marge was the character who had the prophetic vision in church. The writers however considered this to be too dark and it was changed to Grampa. The role of Lisa's love interest Colin was frequently revised. He was previously named Dexter and Adrien, and his appearance was completely altered. One idea was to have Milhouse act as Lisa's love interest, but the writers realized "the audience was not as familiar with [his] long-standing crush on [Lisa] as [they had] thought". A car chase in which Homer throws flaming mummies out of a truck at the EPA was replaced with "more emotional and realistic" scenes at the motel and carnival that allowed for a change of pace. The scene of a naked Bart on his skateboard was Groening's idea, who had always wanted to have Bart skateboarding naked, and Scully had the idea of showing Bart's penis for two seconds. Storyboard Michael Archer was credited for devising the way to cover Bart's genitals with different things before they are exposed to the viewer. While the crew agreed that the gag would be funny, they wondered it if would mean an R-rating for the film, as they were happy with a PG-13 rating and that gag was nonsexual and silly. They were ultimately to get away with the joke because it wasn't live-action nor was it Homer's genitals.
Further changes were made after the March 2007 preview screenings of the film in Portland, Oregon and Phoenix, Arizona. This included the deletion of Kang and Kodos heavily criticizing the film during the end credits. A lot of people at the screenings found the original film too coarse, and some of Homer's behavior too unkind, so several scenes were toned down to make him appear nicer. Russ Cargill was redesigned several times, originally appearing as an older man whose speech patterns Albert Brooks based on Donald Rumsfeld. The older model was the one used by Burger King for the action figure. Cargill's scene with Bart and Homer at the film's conclusion was added in to fully resolve his story, and the "Spider-Pig" gag was also a late addition. One excised scene, before the dome is put over Springfield, had Mr. Burns reminding viewers that it was the last point in the film that they could get a refund. Other deletions included Homer's encounter with a sausage truck driver, which was featured on the DVD, a scene with Plopper the pig at the end, and a news report, showing the dome's effect on daily life in Springfield in areas such as farming and sport, was cut because it did not fit the overall context of the film. Several musical numbers, at various intervals throughout the film, were cut. These included a song about Alaska, featuring music by Dave Stewart of Eurythmics. Jean said it "got pretty far along in the animation, and then we got scared that the movie began to drag in that section."
Music
Producer James L. Brooks chose Hans Zimmer to compose the film's score, as they were good friends and regular collaborators. Zimmer felt that the score was a "unique challenge", and he had to "try and express the style of The Simpsons without wearing the audience out". He used Danny Elfman's original opening theme, but did not wish to overuse it. He created themes for each member of the family. Homer's leitmotif was a major focus, and Zimmer also composed smaller themes for Bart and Marge. Regular television series composer Alf Clausen was not asked to score the film, noting: "sometimes you're the windshield, sometimes you're the bug".
In addition to their appearance in the film, Green Day recorded its own version of the Simpsons theme, and released it as a single. Zimmer turned the Spider-Pig song into a choral piece, which was a joke he never intended to be put into the film. Zimmer also had to write foreign-language lyrics for the 32 dubbed versions of the song when the film was released internationally. He found translating the song into Spanish the hardest to write. The same choir learned to sing the piece for each of the foreign-language dubs.
Themes
Al Jean described the film's message as being "a man should listen to his wife". In addition, the film parodies two major contemporary issues, religion and environmentalism. The theme of environmentalism is present throughout the film: in Homer's polluting of Lake Springfield, Green Day's cameo, Lisa's activism and her romance with Colin. The villainous Russ Cargill is head of the Environmental Protection Agency. Reviewer Ed Gonzalez argued the plot was a satire of the government's reaction to the effects of Hurricane Katrina on New Orleans. Ian Nathan of Empire magazine criticized this focus, believing it gave the film an "overt political agenda [which] border[s] on polemic". James D. Bloom of Muhlenberg College commented on the "explicitness" of the film's "intellectual agenda", on this issue, shown particularly through Lisa. He wrote that the film's first post-opening credits scene, which sees Green Day fail in an attempt to engage their audience on the issue of the environment, "sets in motion a plot expressly built around cultural agenda-setting" and "reflection on timely 'issues'."
Religion is focused on in Grampa's momentary possession, and Marge believing what he said to be a message from God. Groening joked the film "posit[s] the existence of a very active God", when asked if he believed it was likely to offend. Mark I. Pinsky, author of The Gospel According to The Simpsons, said the film "treats genuine faith with respect, while keeping a sharp eye out for religious pretension and hypocrisy of all kinds". Regarding the scene where the tenants of Moe's Tavern and the Church switch locations, he believed it took the "chance to unmask everyone's human fallibility." In analyzing the role of Ned Flanders, he wrote, "It is [the] willingness of The Simpsons to depict all the different sides of us [...] that makes it so rich and funny on our complicated relationship with religion." Trees are a motif in the film, and they were implemented in every important or emotional scene throughout the film. The animators inserted an apple tree behind Lisa and Colin during their initial meeting, which was a reference to the biblical figures of Adam and Eve and the Garden of Eden.
Cultural references
Many cultural references and allusions are made throughout the film. Green Day play "Nearer, My God, to Thee" on violins as their barge sinks, in a sequence parodying the film Titanic. When Bart is riding his skateboard naked, different passing objects are almost constantly covering his genitalia, a nod to similar techniques used in Austin Powers: International Man of Mystery. Homer and Marge's love scene parodies many Disney films, including Cinderella, with Disney-style animals helping them undress. Originally, the music from The Wizard of Oz was used in that scene, and the fawn had white spots; these were removed because the animators felt it resembled Bambi too clearly. Bart impersonates Mickey Mouse on the train, calling himself "the mascot of an evil corporation". Homer plays Grand Theft Walrus, an allusion to the video game series Grand Theft Auto. In the game, his character shoots a tap-dancing penguin in reference to the film Happy Feet. The "Spider-Pig" song is a parody of the theme song of the 1967 Spider-Man TV series, and the name of Lisa's lecture is An Irritating Truth, a play on Al Gore's film An Inconvenient Truth. The bomb disposal robot was based on Vincent D'Onofrio's character Leonard "Pyle" Lawrence from the film Full Metal Jacket, who commits suicide in a similar way. At the end of the film, the crowd's celebration is similar to the conclusion of Return of the Jedi, with Carl performing exactly the same hand gestures as Lando Calrissian.
The $1,000 Homer received when entering Alaska is a reference to the Alaska Permanent Fund Dividend. As Homer leaves Eski-Moe's he grabs on to a passing truck and uses it to propel himself back to the house, a tribute to actor Buster Keaton, while the epiphany scene features homages to the film Brazil and the works of Salvador Dalí. Hillary Clinton appears as Itchy's vice president, while an Orc from The Lord of the Rings appears in the mob scene. A scene that was cut had Marge and the kids appear on the TV talk show The View to spread the news of Springfield's impending doom. Parts were written for the show's entire panel and the scene was planned to feature Russ Cargill having a gunfight with Joy Behar. Another dropped scene featured Moe describing Springfield's varying physical states inside the dome, one of which was the Disneyland ride Autopia. There are several references to events in previous TV episodes of The Simpsons. These include the wreckage of the ambulance from the episode "Bart the Daredevil" crashed into a tree next to Springfield Gorge. The Carpenters' song "(They Long to Be) Close to You" was used in Homer and Marge's wedding video and had also been used in several emotional moments between them in the TV series.
Release
Theatrical
On April 1, 2006, 20th Century Fox announced that the film would be released worldwide on July 27, 2007. The film was released a day earlier in Australia and the United Kingdom. Little information about the plot was released in the weeks building up to the film's release. Groening did not feel that "people look in the TV section of the newspaper and think, 'I'll watch this week's Simpsons because I like the plot.' You just tune in and see what happens."
Fox held a competition among 16 Springfields across the United States to host the American premiere. Each Springfield produced a film, explaining why their town should host the premiere, with the results being decided via a vote on the USA Today website. Springfield, Minnesota dropped out on May 31, 2007. The winner was announced on July 10 to be Springfield, Vermont. The town beat Springfield, Illinois by 15,367 votes to 14,634. Each of the other 14 entrants held their own smaller screenings of the film on July 26. Springfield, Vermont hosted the world premiere of the film on July 21 with a yellow carpet instead of the traditional red.
The film was rated PG-13 by the Motion Picture Association of America for "irreverent humor throughout"; the production staff had expected this rating. However, the British Board of Film Classification passed the film as a PG with no cuts made. A BBFC spokeswoman said regarding Bart's brief nude scene, "natural nudity with no sexual content is acceptable in PG films". The film was banned in Myanmar, not for the scene of nudity, but for the excessive use of the colors yellow and red, which is prohibited in the country.
Marketing
The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion.
Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away.
McFarlane Toys released a line of action figures based on the film while EA Games released The Simpsons Game to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system.
Home media
The film was released on DVD and Blu-ray Disc worldwide on December 3, 2007, and on December 18 in the United States. It contains commentary tracks from both the producers and animators, six short deleted scenes, and a selection of material used to promote the film release. An unfinished deleted scene of the townspeople singing the Springfield Anthem was also included on The Simpsons The Complete Tenth Season DVD box set.
Promotions for the DVD release occurred across the United States. The Empire State Building was illuminated yellow, the first time the building had ever been used as part of a film promotion. In the United Kingdom, Fox launched a £5 million advertising campaign. They also signed a £1.6 million deal with the yogurt company Yoplait, to produce a The Simpsons Movie design for their brand Frubes. In its first week it topped the U.S. DVD chart, and generated $11.8 million in rental revenue.
The Simpsons Movie was included on Disney+ on November 12, 2019.
Reception
Critical reception
On Rotten Tomatoes, the film has an approval rating of 87% based on 223 reviews and an average rating of 7.5/10. The site's critical consensus reads, "The Simpsons Movie contains the hearty laughs, biting satire, and honest portrayal of an American family that makes the show so popular. And it boasts slicker animation and polished writing that hearkens back to the show's glory days." On Metacritic, it received a score of 80 out of 100, based on 36 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.
British newspapers The Guardian and The Times both gave the film four out of five stars. The Times' James Bone said that it "boasts the same sly cultural references and flashes of brilliance that have earned the television series a following that ranges from tots to comparative literature PhDs". The Guardian's Peter Bradshaw stated that it "gives you everything you could possibly want" and that he thought, "Eighty-five minutes [was] not long enough to do justice to 17 years of comedy genius". Ed Gonzalez praised the film for its political message, likening the Itchy & Scratchy cartoon at the beginning to President Schwarzenegger's situation later on, as well as the film's visual gags. Randy Shulman praised the cast, and described them as having "elevated their vocal work to a craft that goes way beyond simple line readings", and particularly praised Kavner who he said "gave what must be the most heartfelt performance ever". Roger Ebert gave a positive review of three out of four stars, but admitted he was "generally [not] a fan of movies spun off from TV animation". He called it "radical and simple at the same time, subversive and good-hearted, offensive without really meaning to be". Richard Corliss of Time said that the film "doesn't try to be ruder or kinkier, just bigger and better".
USA Today film critic Claudia Puig said that the story did "warrant a full-length feature, thanks to a clever plot and non-stop irreverent humor". Patrick Kolan believed that the film was "easily the best stuff to come [from the Simpsons] since season 12 or 13" and praised the animation, but also said that the appearances of characters such as Comic Book Guy and Seymour Skinner were "small and unfunny". Kirk Honeycutt of The Hollywood Reporter praised the film's good nature, stating that the laughs "come in all sizes", but also noted that, "little has been gained bringing the Simpsons to the screen."
Variety's Brian Lowry called it "clever, irreverent, satirical and outfitted" but that it was "just barely" capable of sustaining a running time longer than a television episode. Lisa Schwarzbaum praised the voice cast but stated that the "'action' sequences sometimes falter". When comparing the film to the early episodes of the show, Stephen Rowley concluded that the film "has more going for it than the show in its later years, but is still a long way short of what made it so invigorating". The Monthly critic Luke Davies echoed Lowry's concerns about the length: "everything moves with the whip-crack speed of a half-hour episode. And that's the paradox: it makes the film feel like three episodes strung together. We're in a cinema, and we expect something epic." He opined that "in the great arc that is the history of The Simpsons, this film will come to be seen as oddity rather than apotheosis."
More negative reception came from the magazine Empire, where reviewer Ian Nathan compared the film to New Coke, saying that "it utterly failed". Phil Villarreal believed that there were "too few laugh-worthy moments" and that "instead of stretching to new frontiers, the film rests on the familiar". Sheila Johnston criticized the pacing of the film and its joke level saying that "the overall momentum flags at times" and that it was "a salvo of comic squibs, some very funny, others limp". David Edwards agreed with this, writing that although "there's a great half-hour show rattling around...the rest is padding at its very dullest", concluding that it "isn't a terrible film, just a terribly disappointing one." Cosmo Landesman believed, "the humour seem[ed] to have lost its satirical bite and wit" and that "much of the comedy is structured around the idiocy of Homer". This assessment was shared by Carina Chocano of the Los Angeles Times, who felt that "once the movie wanders into its contemplation of mortality and meaning, the trenchancy kind of creaks and falls off." She negatively compared it to South Park: Bigger, Longer & Uncut (1999), a film similarly adapted from an animated television series, saying that, in terms of satire, it offers "nothing we don't hear every night on The Daily Show with Jon Stewart." Bruce Newman criticized the fleeting appearances of many of the show's secondary characters, and found the film to be "a disappointment".
Box office
The film earned $30,758,269 on its opening day in the U.S. making it the 25th-highest, and fifth-highest non-sequel opening day revenue of all time. It grossed a combined total of $74,036,787 in its opening weekend on 5,500 screens at 3,922 theaters, reaching the top of the box office for that weekend. This made it the tenth-highest revenue of all time, for an opening weekend in July, and highest among non-sequels, and the highest animated TV adaptation of all time. This outperformed the expectations of $40 million that Fox had for the release.
It set several American box office records, including highest grossing opening weekend for a non-CG animated film and for a film based on a television series, surpassing Mission: Impossible 2. It was also the third-highest grossing opening weekend for an animated film. It opened at the top of the international box office taking $96 million from 71 overseas territories, including $27.8 million in the United Kingdom, the second-highest UK opening ever for a 20th Century Fox film. It contributed to over half of the record 5.5 million people attending British cinemas that weekend. In Australia, it grossed $13.2 million, the third-highest opening weekend in the country, and the highest for an animated film. The United Kingdom is the highest-grossing country for the film outside the US with a $78.4 million gross overall, with Germany in second place with a $36.3 million gross overall. The film closed on December 20, 2007 with a gross of $183.1 million in the United States and Canada and a worldwide gross of $536.4. It was the eighth-highest-grossing film worldwide and the twelfth-highest grossing in the United States and Canada of 2007.
Accolades
The Simpsons Movie won the award for Best Comedy Film at the British Comedy Awards, Best Animation at the inaugural ITV National Movie Awards, and Best Movie at the UK Nickelodeon Kids Choice Awards, beating Harry Potter and the Order of the Phoenix, Pirates of the Caribbean: At World's End, and Shrek the Third. The film's trailer won a Golden Trailer Award in the category Best Animated/Family Film Trailer at the 8th Annual Golden Trailer Awards. Forbes named the film the third best of the year, based on its box office takings and Metacritic critical response score. The film's website received a Webby Award at the 12th Annual Webby Awards in the category "Best Movie and Film Website".
At the 35th Annie Awards the film was nominated in four categories: Best Animated Feature, Directing in an Animated Feature Production, Writing in an Animated Feature Production, and Voice Acting in an Animated Feature Production for Julie Kavner. All four awards were won by Ratatouille. It was nominated for Best Animated Feature Film at the 65th Golden Globe Awards, the BAFTA for Best Animated Film, and the Producers Guild Award for Animated Theatrical Motion Picture. It also received nominations for the Satellite Award for Best Animated or Mixed Media Feature, the Chicago Film Critics Association Award for Best Animated Feature, and the Broadcast Film Critics Association Award for Best Animated Feature.
Before its release, the film received a nomination at the 2007 MTV Movie Awards for "Best Summer Movie You Haven't Seen Yet", with the award ultimately won by Transformers, and lost the Teen Choice Award for "Choice Summer Movie – Comedy/Musical", which was won by Hairspray. It was also nominated for Favorite Movie Comedy at the People's Choice Awards, losing to Knocked Up.
Planned sequel
In 2014, Brooks stated that he had been approached by Fox and that they had requested a second film. He added that there were no immediate plans, stating, "We've been asked to [develop it], but we haven't. We're doing a lot of other stuff." In December 2014, just prior to the broadcast of the episode "The Man Who Came to Be Dinner", Jean wrote on Twitter that the episode (which had been produced in 2012 and was originally set to air in May 2013) had been held back by himself and Brooks because it was being considered for adaptation into a sequel film as the episode was "cinematic". Jean later expanded that there was the fear of the potential film being considered "not canonical" with the TV series and the potential backlash of overcoming it by using a "memory wipe". In July 2017, Silverman and Jean said that the sequel was in the early stages of development and stressed the toll production of the first picture took on the entire staff. On August 10, 2018, it was reported that a sequel is in development. On July 22, 2019, Groening stated that he has "no doubts" that Disney will likely produce a sequel one day. In July 2021, Jean stated that discussions for the potential sequel had stalled due to the COVID-19 pandemic.
References
External links
2007 films
2007 animated films
2007 comedy films
2007 directorial debut films
2000s American animated films
20th Century Fox animated films
20th Century Fox Animation films
20th Century Fox films
American adult animated films
American films
American animated comedy films
Animated comedy films
Animated films based on animated series
Animated films based on animated television series
Animated films set in the United States
The Simpsons
English-language films
Films about dysfunctional families
Films directed by David Silverman
Films produced by James L. Brooks
Films produced by Matt Groening
Films scored by Hans Zimmer
Films set in fictional populated places
Films with screenplays by James L. Brooks
Films with screenplays by John Swartzwelder
Films with screenplays by Matt Groening
Fox Television Animation films
Gracie Films films
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"Shopper marketing is \"a discipline that focuses on the customer experience and the customer journey.\"In shopper marketing, manufacturers target portions of their marketing investment at specific retailers or retail environments. Such targeting is dependent on the congruency of objectives, targets and strategies between the manufacturer and a given retailer or a given type of retail environment.\n\nDescription\n'Shopper marketing is not limited to in-store marketing activities, a common and inaccurate assumption that impairs the spread of any industry definition. Shopper marketing is part of an overall integrated marketing approach that considers the opportunities to drive consumption and identifies the shopper that would need to purchase a brand to enable that consumption. These shoppers need to be understood in terms of how well they interpret the needs of the consumer, what their own needs as a shopper are, where they are likely to shop, in which stores they can be influenced in, and what in-store activity influences them.\n\nUnilever defines a shopper insight, an insight upon which shopper marketing is based, as a \"focus on the process that takes place between that first thought the consumer has about purchasing an item, all the way through the selection of that item.\"\n\nShopper marketing challenges the assumption that the shopper and the consumer are the same. Despite the fact that this is not always true (consider the consumer and shopper of pet food for a moment) it is clear that the industry still gets confused.\n\nShopper marketing is important for manufacturers as they spend vast amounts of money on it, and that these amounts are increasing. Many organizations spend over 8% of total sales on in-store marketing; when total trade spend is added up it can often top 40% of total revenue. \n\nIn shopper marketing, manufacturers target portions of their marketing investment at specific retailers or retail environments. Such targeting is dependent on the congruency of objectives, targets and strategies between the manufacturer and a given retailer or a given type of retail environment.\n\nA significant factor in the rise of shopper marketing is the availability of high-quality data from which insights may be gleaned to help shape strategic plans. According to industry studies prior to 2010, manufacturer investment in shopper marketing is growing more than 21% annually.\n\nAccording to the company's financial statements, Procter & Gamble, invests at least 500 million dollars in shopper marketing each year.\n\nProcter & Gamble's Walmart/Sam's Club Customer Team and Sam's Club are considered by many as the original pioneers in true shopper marketing in the US. Rhonda Harper, the top marketing officer for Sam's Club at the time, is credited with launching shopper marketing during a two-day Bentonville strategic planning off-site in May 2001, attended by more than 300 vendor marketing and sales executives. Shopper marketing is practiced by the leading European companies such as Unilever and Beiersdorf and the discipline is developed further by the likes of Phenomena Group, Europe's first shopper marketing agency.\n\nThe following statistics have caused the reapportionment of marketing investment from consumer marketing to shopper marketing. each brand performs differently based on shopper need states, shopper trip types, retailer formats, brand importance, brand relevance and a host of other factors:\n 70% of brand selections are made at stores\n 68% of buying decisions are unplanned\n 5% are loyal to the brand of one product group\n Practitioners believe that effective shopper marketing is increasingly important to achieve success in the marketplace\n\nPartial areas\n\nHistory\nFor almost 50 years, large-scale consumer packaged goods manufacturers had many possibilities available to spark continued business growth. The 1970s were about product commoditization; the 1980s brought channel consolidation; the 1990s increased consumerism, and in the 2000s, growth came from globalization.\n\nThe organization itself was accordingly structured to maximize these growth agents through efficiencies of mass production, distribution and sales. Marketers were organized into silos depending on which function they served. Product marketers developed and positioned goods for retailers to sell; distribution marketers took several brands of products and managed lifecycle and supply chain issues by channel; and consumer-driven marketers who were in the field among the channel(s) trying to increase share or penetration.\n\nThe three groups were a bit like an assembly line where the first marketer would throw it over the wall to the second marketer and so on. The marketing organization structure was originally built around the big news at the time, the four Ps of marketing: product, price, placement and promotion. Other hot news as the time was that Elvis Presley was serving in the Army in Germany, Khrushchev became the Soviet Premier of the USSR, Alaska became an official state of the US and Bridge Over the River Kwai earned the Academy Award for Best Motion Picture of the Year. The four Ps of marketing were also a product of the 1950s.\n\nBy 2005 there was no new growth models on the radar for the Fortune 500 CPG companies. Much of the conversation behind closed doors sounded like this, “….But we've really improved our marketing and promotion capabilities; we have all the latest technologies, we have the best people from the top schools – why isn't our business growing the way we think it should?”\n\nAll of these previous growth mechanisms were driven by manufacturing technology and the knowledge transfer of this technology across the organization. Companies essentially were finding various new ways to squeeze their supply chain to remove costs or add in “value.” By 2005, getting even better by doing the same old thing generating additional growth in the marketplace. It had become radically different. Marketing wasn't in charge of the success of consumer products anymore, there was a new boss in town who was calling the shots – the consumer.\n\nThe 50-year run of marketing-centric, inward facing organizational structure was over. Gone were the days of making a product, with businesses telling consumers only the information they wanted them to know in order to create awareness and drive them into the store, and then making sure the retailer got his product order. Fueled by consumers empowered by globalization and technology, marketing-centric has replaced with consumer-centric, an outward facing organization structure that's concerned with being there for the consumer wherever, whenever, and with whatever they want to know at any point in their journey to purchase.\n\nRetail shopping environment \nIn late 2004, a new model for growth emerged as product manufacturers and retailers alike identified the need to uniquely influence the shopping experience. It was called shopper marketing (SM). It wasn't until 2010 that it was formally defined by the Retail Commission on Shopper Marketing as follows:\n\n\"Shopper Marketing is the use of insights-driven marketing and merchandising initiatives to satisfy the needs of targeted shoppers, enhance the shopping experience and improve business results and brand equity for retailers and manufacturers.”\n\nThe informal interpretation summarizes shopper marketing'' as \"bringing shoppers into the marketing plan and the marketing plan into the stores\". The shopper marketing proposition holds that product manufacturers should put as much if not more emphasis on marketing through retail as they do on conventional mass media campaigns.\n\nBuying behavior data \nSeveral different data collection methods provide information on the shopper's buying behavior of a given brand: observations, intercepts, focus groups, diaries, point-of-sale and other data.\n\nObservations made before entering a store, in the store, and after exiting a store clarify when, what, where, why, who and how shopper behavior occurs.\n\nIssues to be noted consist of, for example: the length of the buying process, the items the shopper noticed, touched, studied, the items the shopper bought, as well as the purchase methods influencing the process. Interviews help uncover motives guiding the buying behaviors. The matters commonly clarified are: the likelihood of product substitution and the identification of substitutes; values and attitudes; desires and motivational factors; as well as lifestyle and life situation. Point-of-sale data provide information on which products were bought, when and for how much (and sometimes by whom when a frequent shopper card can be used).\n\nHow other shoppers in a store can influence the shoppers in a target market are also of interest. For example, research by Martin (2012) in a retailing context found that male and female shoppers who were accidentally touched from behind by other shoppers left a store earlier than people who had not been touched and evaluated brands more negatively, resulting in the Accidental Interpersonal Touch effect\n\nSegmenting shoppers \nWhen conducting shopper segmenting, the market is divided into essential and measurable groups, that is, segments on the basis of the buying behaviour data. Shopper segmenting makes it easier to answer the requirements of individual segments. For example, price-sensitive and traditional shoppers clearly differ from one another as far as their buying behaviour is concerned. Segmenting makes it possible to target marketing measures at the most profitable shoppers.\nThe value of segmenting shoppers is debated in the shopper marketing industry. For retailers it can provide direction on positioning relative to competitors as well as in terms of store locations. Loyalty cards can provide one of the richest sources of segmentation data. For consumer product manufacturers, shopper segmentation is less useful, at least in physical stores, as the shelf and displays communicate to all store shoppers in the same way.\n\nReferences \n\nTypes of marketing",
"Rex Briggs (born 1971) is an author, award winning marketing ROI researcher. He began his career at Yankelovich Partners, where he was noted for his work in Generation X Minority marketing. While at Yankelovich, he is noted for developing a theory called “The Psychology of disenfranchisement.” Briggs was among the first to research the Internet.\n\nBriggs is responsible for several innovations in digital marketing. In 1995, Briggs joined Wired, as Director of Research, focusing on their digital brand HotWired. He created the first study of Web banner advertising effectiveness. The research is notable because it was the first application of random sampling online, and used design of experiments to measure the in-market impact of online advertising. Briggs and his team at HotWired innovated one-to-one web marketing to deliver personalized content, and real-time web analytics, known as “HotStats”.\n\nOnline Advertising Measurement\nIn 1997, Briggs founded MBInteractive, with Joshua Grossnickle and Oliver Raskin under the ownership of WPP plc. At MBInteractive, Briggs continued his work on marketing effectiveness creating the widely cited 1997 IAB Advertising Effectiveness Study., and inventing an early version of behavior targeting with leading online ad servers. During this period, Briggs coined the marketing terms “brand impact” and \"Surround sound marketing.”\n\nMarketing ROI Measurement\nIn 2000, Briggs founded Marketing Evolution. At Marketing Evolution, Briggs created a new form of research called “cross media research” (now known as multi-touch attribution and unified measurement). The research, referred to as \"XMOS\" for a time began with The Dove Nutrium Bar study. It was the first of its kind in that it showed the ROI of online advertising side by side with Television in Magazine, and thus provided insight on the share of the marketing budget that should be devoted to Online advertising in comparison to other media. The cross-media research expanded to other brands, and was publicized globally by the IAB and Microsoft, with Briggs co-presenting the results of the cross-media research with Bill Gates and Steve Ballmer at various locations around the world.\n\nIn January 2006, BusinessWeek’s cover story, entitled “Math Will Rock Your World” featured Briggs ROI marketing analysis. Later that year, Briggs expand the research connecting online advertising to offline sales and published the cross-media measurement for the Ford F-150 campaign launch.\n\nBook: What Sticks\nIn 2006, Briggs co-authored the book What Sticks, Why Advertising Fails and How To Guarantee Yours Succeeds (), [Ad Age] named What Sticks the #1 book in marketing, and included Briggs among the 10 people who made their mark. Ad Age devoted a cover story to the book in August 2006. What Sticks has been widely cited for answering John Wanamaker’s quote, “Half the money I spend on advertising is wasted; the trouble is I don’t know which half.” Briggs and co-author Greg Stuart analyzed three-dozen blue-chip brand campaigns on behalf of marketing CMOs and calculated that 37 percent of advertising investment was wasted. Reasons for the waste include failure to understand underlying customer motivations for buying, ineffective messages and inefficient media mix investment (pg 19-20).\n\nBriggs and Stuart suggestions for reducing waste in marketing were amplified by Bob Liodice, President of the Association of National Advertisers in an op-ed in Ad Age entitled \"Marketers, Get Serious About Accountability. Their suggestion about improving ROI through systematic investment in innovation was emphasized by Mark Renshaw in his Ad Age op-ed entitled \"The '70/20/10 Rule' and Why You Need It\n\nWhat Sticks is required reading at leading Universities including Wharton School of the University of Pennsylvania and Harvard.\n\nSocial Media ROI\nIn 2007, Briggs advanced research in social media marketing with MySpace, Adidas, and Electronic Arts. He and his team at Marketing Evolution documented what he termed \"The Momentum Effect\" which is the influence of friend to friend sharing of marketer's messages in social networks. His work in this area was cited in books including Emmanuel Rosen's The Anatomy of Buzz Revisited (), and Groundswell (), by Charlene Li and Josh Bernoff (pg 8), and The Chaos Scenario () by Bob Garfield.\n\nIn 2011, Briggs announced that social media effects can be predicted, and accountable like other media.\n\nMarketing Technology\nBriggs has published on the topic of marketing technology and automation starting in 2000 in a paper that won an Excellence in International Research from ESOMAR. In 2011 he articulated how software to optimize budget planning forms a collective brain, and could be extending to the application of technology to proactively distribute marketing best practices in the marketing process.\n\nBriggs argues that SIRFs (Spend to Impact Response Functions) will be the \"Face of Marketing\" and the integration into software will be \"transformative.\"\n\nBook: SIRFs-Up: The Story of How Spend To Impact Response Functions (SIRFs), Algorithms And Software Are Changing The Face of Marketing \nIn 2012, Briggs published SIRFs-Up. Ad Age covered the book upon its release.\n\nPart 1 explained how SIRFs have become increasingly used by marketers, starting with a case study from Victoria's Secret in the US and concluding with a case study from AB-InBev, in Latin America. Briggs explains that SIRFs represent an optimized ordering of marketing spend, and produce a diminishing a returns curve where incremental spending produces less incremental value. Part 1 briefly explains the math of measuring SIRFs, and focuses on SIRFs use in marketing measurement of Return On Investment (ROI), media planning, and business planning. Briggs uses several case studies from well known brands to illustrate the points.\n\nPart 2 provides a marketing framework that has customer insights at the center, with content development and amplification following the customer insights. Different content and amplifications strategies are reviewed. Briggs' discusses his research findings on social media (the Momentum Effect) and the importance to marketers.\n\nPart 3 focuses on Marketing and Media Planning. The section starts with an audit of the brands current levels of advocacy and awareness, and the \"big ideal\" (or brand purpose). Briggs argues that different business types need to approach marketing differently. Briggs explains that generalizations about marketing often are met with skepticism because there are significant differences in how a business should market based on the business type. For example, a business with a narrow customer base of a few hundred potential customers is vastly different than one with more than a hundred million customers. The dimensions in the Briggs-Matthews business typing tool are: 1) Marketing Led vs. Sales Led, 2) Narrow customer base vs. Broad customer base, 3) Top-dog vs. Underdog, 4) Sell through channel vs. direct, 5) Purchased frequently vs. infrequent, and 6) Left-brain (rational) vs. Right-brain (emotional) vs. No-brainer (habitual). Briggs provides a tool for companies to type themselves, and to see the implications of different types on marketing strategy and tactics.\n\nPart 4 addresses how to use SIRFs by \"renting them\" from companies with impact benchmarks, or gathering your own SIRFs through primary research such as multi-touch attribution analysis.\n\nPart 5 predicts how marketing will be transformed by technology. Briggs predicts the merging of BI (Business Intelligence) MRM (Marketing Resource Management) and EMM (Enterprise Marketing Management) as business fully integrate consumer intelligence data and SIRFs into the entirety of business operations. Briggs address the changing role humans in an increasingly technology driven field.\n\nPart 6 is a series of case studies putting all the concepts discussed in the book to practice.\n\nReferences\n\n1971 births\nLiving people"
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[
"The Simpsons Movie",
"Marketing",
"how much did marketing cost?",
"The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million.",
"Was there any stunts in marketing?",
"Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion.",
"Are there any other interesting aspects about this article?",
"20th Century Fox erected a \"giant pink donut\" in the town of Springfield in Canterbury, New Zealand",
"What other marketing schemes happened?",
"in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station.",
"Did any stunts not work?",
"I don't know.",
"How much did they spend in marketing the movie?",
"I don't know."
] |
C_d89de81934a1413f801b02acd1dedcf4_1
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Were there any additional marketing ploys?
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Were there any additional marketing ploys for The Simpsons Movie?
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The Simpsons Movie
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The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion. Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away. McFarlane Toys released a line of action figures based on the film, EA Games released The Simpsons Game, to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system. CANNOTANSWER
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In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant.
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The Simpsons Movie is a 2007 American animated comedy film based on the long-running animated sitcom The Simpsons. The film was directed by the show's supervising director David Silverman and stars the show's regular cast of Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Harry Shearer, Tress MacNeille, Pamela Hayden, Karl Wiedergott, Marcia Wallace, Maggie Roswell, Russi Taylor, Joe Mantegna, and Albert Brooks. The film follows Homer Simpson, who irresponsibly pollutes the lake in Springfield, causing the Environmental Protection Agency (EPA) to imprison the town under a giant glass dome. After he and his family escape, they ultimately abandon Homer for his selfishness and return to Springfield to prevent the town’s demolition by Russ Cargill, head of the EPA. Homer works to redeem his folly by returning to Springfield himself in an effort to save it.
Although previous attempts to create a Simpsons film had been made, they failed due to the lack of lengthy script and production crew members. Eventually in 2001, producers James L. Brooks, Matt Groening, Al Jean, Mike Scully and Richard Sakai began development of the film and a writing team consisting of Brooks, Groening, Jean, Scully, Ian Maxtone-Graham, George Meyer, David Mirkin, Mike Reiss, Matt Selman, John Swartzwelder and Jon Vitti was assembled. They conceived numerous plot ideas, with Groening's being the one adapted. The script was rewritten over a hundred times, also continuing after work on the animation began in 2006. Consequently, hours of finished material was cut from the final release, including cameo roles from Erin Brockovich, Minnie Driver, Isla Fisher, and Edward Norton (as well as Kelsey Grammer, who would have reprised his role as Sideshow Bob). Tom Hanks and the members of Green Day voice their own animated counterparts in the final cut of the film, while Albert Brooks, a frequent guest performer on the series, provides the voice of its main antagonist, Russ Cargill.
Tie-in promotions were made with several companies to promote the film's release, including Burger King and 7-Eleven, the latter of which transformed selected stores into Kwik-E-Marts. The film premiered in Springfield, Vermont on July 21, 2007 and was released theatrically six days later by 20th Century Fox across the United States. The Simpsons Movie received positive reviews and grossed $536.4 million worldwide, became the eighth highest-grossing film of 2007, the second highest-grossing traditionally animated film (behind Walt Disney Animation Studios' The Lion King), and the highest-ever grossing film based on an animated television series. The film received praise for its humor, emotional weight, and callbacks to early seasons. The film was nominated for numerous awards, including a Golden Globe Award for Best Animated Feature Film at the 65th Golden Globe Awards.
Plot
One summer on Lake Springfield, Green Day, after finishing a concert, try to engage the audience in a discussion about the environment, angering the audience into throwing garbage at them, causing the pollution in the lake to erode and sink the band's barge, drowning them. During their memorial at Reverend Lovejoy's church, Grampa Simpson has a spiritual experience and frantically prophesies that a disaster will befall Springfield, but only Marge takes it seriously. Concerned about the terrible state of the environment, Lisa and her new love interest, Colin, hold a seminar where they successfully convince Mayor Quimby to tell the town to clean up the lake. Meanwhile, after a series of dares, including one with Bart skateboarding across Springfield naked and getting in trouble with Chief Wiggum, Homer and Bart go to Krusty Burger, where Homer adopts a pig that Krusty the Clown was about to have killed. Marge, identifying the pig as a part of Grampa's prophecy, warns Homer to get rid of it, but Homer refuses. Homer's fawning over the pig makes Bart, now fed up with his father's carelessness, look to their neighbor, Ned Flanders, as a father figure.
Homer stores the pig's feces in an overflowing silo, disgusting Marge. Homer attempts to dispose of it safely at Marge's request, but his friend Lenny calls him to inform him about Lard Lad Donuts giving away all their donuts for free due to failing a health inspection. In a rush to get to the giveaway, Homer dumps the silo in the lake, critically polluting it. Moments later, a squirrel stumbles into it and becomes severely mutated. While bonding on a hike, Bart and Flanders notice the squirrel, which the EPA capture. Russ Cargill, head of the EPA, informs President Arnold Schwarzenegger on Springfield's pollution crisis and presents five solutions. Without reading them, the president randomly picks the third solution: imprisoning Springfield under a giant glass dome. When Homer's silo is discovered, the townspeople, including Grampa, the school staff, the Simpsons' friends and neighbors, except for the Flanders and Colin, form an angry mob, ransack their house and attempt to lynch them. The family escapes through a sinkhole that Homer hid using Maggie's sandbox, which destroys the house soon after. The family flees to Alaska using a truck that Lisa helps Homer win at a contest, where they try to restart their life.
Within ninety three days, Springfield completely exhausts its daily supplies and the townspeople go crazy as they attempt to escape from the dome using brute force to destroy it, causing cracks to form. Cargill, not wanting news of what he has done to spread around the world, plots to destroy Springfield by tricking the president into choosing a solution that involves its demolition. The Simpsons see a television advertisement for a new Grand Canyon on the site of Springfield. Realizing that their hometown is in danger, the family decide to save it except for Homer, who objects to helping the people who had turned on them. The family soon abandons Homer for his selfishness, with Marge leaving behind a recorded video about it, causing him to run off in search of them. The family are captured by the EPA and placed back inside the dome. After an encounter with a mysterious Inuit shaman who saves him from a polar bear, Homer has an epiphany about saving the town in order to save himself.
Homer returns home and learns about his family's capture as a helicopter lowers a time bomb suspended by a rope through a hole at the top of the dome. Homer enters the dome and descends the rope, knocking the escaping townspeople and the bomb off, inadvertently shortening its countdown, much to the townspeople's anger. After reuniting and reconciling with Bart, they use a motorcycle to travel up the side of the dome and throw the bomb through the hole seconds before it detonates, shattering the dome and freeing the town. Homer and Bart land safely at Springfield Gorge where a shotgun-wielding Cargill confronts them and attempts to shoot them for foiling his plan. But before he can do so, Maggie knocks him out by dropping a large rock on his head. The townspeople praise and forgive Homer, who reconciles with Marge as Springfield begins restoration.
Cast
Dan Castellaneta as Homer Simpson, Abe Simpson, Krusty the Clown, Groundskeeper Willie, Mayor Quimby, Sideshow Mel, Mr. Teeny, EPA Official, Itchy, Barney Gumble, Stage Manager, Blue Haired Lawyer, Multi-Eyed Squirrel, Hans Moleman, Panicky Man, Kissing Cop, Bear, Boy on Phone, NSA Worker, Officer, Rich Texan, Santa's Little Helper, and Squeaky-Voiced Teen
Julie Kavner as Marge Simpson, Selma Bouvier, and Patty Bouvier
Nancy Cartwright as Bart Simpson, Ralph Wiggum, Todd Flanders, Nelson Muntz, Maggie Simpson, TV Daughter, Woman on Phone, and Kearney Zzyzwicz
Yeardley Smith as Lisa Simpson
Hank Azaria as Moe Szyslak, Chief Wiggum, Cletus Spuckler, Professor Frink, Apu Nahasapeemapetilon, Lou, Comic Book Guy, Captain McCallister, Bumblebee Man, Dr. Nick, Carl, Male EPA Worker, Dome Depot Announcer, Kissing Cop, Carnival Barker, Gas Station Clerk, Drederick Tatum, EPA Passenger, Robot, and Wiseguy
Harry Shearer as Mr. Burns, Smithers, Ned Flanders, Reverend Lovejoy, Lenny, President Arnold Schwarzenegger, Seymour Skinner, Kent Brockman, Dr. Hibbert, Otto Mann, Scratchy, Skull, Toll Booth Operator, and Guard
Pamela Hayden as Milhouse Van Houten, Rod Flanders, and Jimbo Jones
Tress MacNeille as Medicine Woman, Agnes Skinner, Crazy Cat Lady, Colin, Cookie Kwan, Sweet Old Lady, Mrs. Muntz, Plopper, Female EPA Worker, Lindsey Neagle, GPS Voice, TV Son, Girl on Phone, and Dolph Starbeam
Albert Brooks (as "A. Brooks") as Russ Cargill
Karl Wiedergott as EPA Officer and Man
Marcia Wallace as Edna Krabappel (scenes deleted)
Russi Taylor as Martin Prince
Maggie Roswell as Helen Lovejoy and Miss Hoover
Phil Rosenthal as TV Dad
Billie Joe Armstrong, Frank Edwin Wright III, and Michael Pritchard as Green Day (themselves)
Joe Mantegna as Fat Tony
Tom Hanks as himself
Additional voices are done by Castellaneta, Kavner, Cartwright, Smith, Azaria, Shearer, Hayden, MacNeille, Wiedergott, Wallace, Taylor, and Roswell
Production
Development
The production staff had considered a film adaptation of The Simpsons since early in the series. The show's creator, Matt Groening, felt a feature-length film would allow them to increase the show's scale and animate sequences too complex for the TV series. He intended the film to be made after the show ended, "but that [...] was undone by good ratings". There were attempts to adapt the fourth season episode "Kamp Krusty" into a film, but difficulties were encountered in expanding the episode to feature-length. For a long time the project was held up. There was difficulty finding a story that was sufficient for a film, and the crew did not have enough time to complete such a project, as they already worked full-time on the show. Groening also expressed a wish to make Simpstasia, a parody of Fantasia; it was never produced, partly because it would have been too difficult to write a feature-length script. At another point, it was briefly suggested to do an anthology-style Treehouse of Horror film, but such suggestion was never pursued. Recurring guest performer Phil Hartman had wished to make a live-action film based on his character Troy McClure; several of the show's staff expressed a desire to help create it, and Josh Weinstein proposed to use the plot of the 1996 episode "A Fish Called Selma" for the film, but the project was cancelled following Hartman's death in 1998.
The voice cast was signed on to do the film in 2001, and work then began on the script. The producers were initially worried that creating a film would have a negative effect on the series, as they did not have enough crew to focus their attention on both projects. As the series progressed, additional writers and animators were hired so that both the show and the film could be produced at the same time. Groening and James L. Brooks invited back Mike Scully and Al Jean (who continued to work as showrunner on the television series) to produce the film with them. They then signed David Silverman (who, in anticipation of the project, had quit his job at Pixar) to direct the film. The "strongest possible" writing team was assembled, with many of the writers from the show's early seasons being chosen. David Mirkin, Mike Reiss, George Meyer, John Swartzwelder, and Jon Vitti were selected. Ian Maxtone-Graham and Matt Selman joined later, and Brooks, Groening, Scully, and Jean also wrote parts of the script. Sam Simon did not return having left the show over creative differences in 1993. Former writer Conan O'Brien expressed interest in working with the Simpsons staff again, although he later joked that "I worry that the Simpsons-writing portion of my brain has been destroyed after 14 years of talking to Lindsay Lohan and that guy from One Tree Hill, so maybe it's all for the best." The same went for director Brad Bird who said he had "entertained fantasies of asking if [he] could work on the movie", but did not have enough time due to work on Ratatouille. The producers arranged a deal with Fox that would allow them to abandon production of the film at any point if they felt the script was unsatisfactory.
Work continued on the screenplay from late 2003 onwards, taking place in the small bungalow where Groening first pitched The Simpsons in 1987. The writers spent six months discussing a plot, and each of them offered sketchy ideas. On their first brainstorming session, Scully suggested a story in which Steven Spielberg (intended to be voiced by Spielberg himself) would try to blow up Springfield so he can shoot a film with Tom Hanks (who ultimately made a guest appearance voicing himself in the finished film). It was also on this same reunion that Groening introduced the idea of Homer adopting a pet pig, inspired by a pig-waste management story he had read in the news. Jean suggested the family rescue manatees, which became the 2005 episode "The Bonfire of the Manatees", and there was also a notion similar to that of The Truman Show where the characters discovered their lives were a TV show. Groening rejected this, as he felt that the Simpsons should "never become aware of themselves as celebrities", but the idea was later used in the video game The Simpsons Game. Groening read about a town that had to get rid of pig feces in their water supply, which inspired the plot of the film. The decision for Flanders to have an important role also came early on, as Jean wished to see Bart wonder what his life would be like if Flanders were his father. Hank Scorpio, a character from the 1996 episode "You Only Move Twice", was originally meant to return as the main antagonist, but the staff dropped the idea and created Russ Cargill instead. Having eventually decided on the basic outline of the plot for the film, the writers then separated it into seven sections. Jean, Scully, Reiss, Swartzwelder, Vitti, Mirkin, and Meyer wrote 25 pages each, and the group met one month later to merge the seven sections into one "very rough draft". The film's script was written in the same way as the television series: the writers sitting around a table, pitching ideas, and trying to make each other laugh. The script went through over 100 revisions, and at one point the film was a musical. However, the songs were continually being shortened and the idea was dropped. Groening described his desire to also make the film dramatically stronger than a TV episode, saying that he wanted to "give you something that you haven't seen before".
Animation
Animation for the film began in January 2006, with the Itchy & Scratchy short being the first scene to be storyboarded. Groening rejected making either a live-action or a CGI film, calling the film's animation "deliberately imperfect" and "a tribute to the art of hand-drawn animation". The film was produced in a widescreen 2.40:1 aspect ratio, to distinguish it from the look of the television series, and colored with the largest palette the animators ever had available to them. A lot of the animation was produced using Wacom Cintiq tablets, which allowed images to be drawn directly onto a computer monitor to facilitate production. Animation production work was divided among four studios around the world: Film Roman in Burbank, California, Rough Draft Studios in Glendale, California, and AKOM and Rough Draft's division in Seoul, South Korea. As with the television series, the storyboarding, characters, background layout, and animatic parts of production, were done in America. The overseas studios completed the inbetweening, digital ink and paint, and rendered the animation to tape before being shipped back to the United States.
Director David Silverman said that unlike the TV series where "you [have] to pick and choose", the film gave them the opportunity to "lavish that attention [on] every single scene". The characters have shadows, unlike in the show. Silverman and the animators looked to films such as The Incredibles, The Triplets of Belleville, and Bad Day at Black Rock for inspiration, as they were "a great education in staging because of how the characters are placed". They also looked for ideas for a dream sequence, in Disney films such as Dumbo and the Pluto cartoon Pluto's Judgment Day and for crowd scenes in It's a Mad, Mad, Mad, Mad World. Silverman looked at some of the Simpsons episodes he had directed, primarily his two favorites, "Homie the Clown" and "Three Men and a Comic Book". Mike B. Anderson, Lauren MacMullan, Rich Moore and Steven Dean Moore each directed the animation for around a quarter of the film under Silverman's supervision, with numerous other animators working on scenes.
Casting
For inspiration for the crowd scenes in the film, the production staff referenced a poster featuring more than 320 Simpsons characters. Groening said they tried to include every single character in the film, with 98 having speaking parts, and most members of the crowds being previously established characters instead of generic people. The series' regular voice actors: Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria and Harry Shearer, as well as semi-regular performers Tress MacNeille, Pamela Hayden, Marcia Wallace, Maggie Roswell, Russi Taylor and Karl Wiedergott, reprised their roles. Joe Mantegna returned as Fat Tony, while Albert Brooks, who supplied many guest voices in episodes, was cast as the main antagonist Russ Cargill after he told the staff that he wanted to be part of the film. For "about a week", Brooks was to reprise the role of Hank Scorpio, but when the character was omitted from the film, he ended up voicing Cargill himself.
The cast did the first of three table readings in May 2005, and began recording every week from June 2006 until the end of production. James L. Brooks directed them for the first time since the television show's early seasons. Castellaneta found the recording sessions "more intense" than recording the television series and "more emotionally dramatic". Some scenes, such as Marge's video message to Homer, were recorded over one hundred times, leaving the voice cast exhausted.
The writers had written the opening concert scene without a specific band in mind. Green Day were cast in that role having requested to guest star in the show. Tom Hanks also appears as himself in the film and accepted the offer after just one phone call. Everybody Loves Raymond creator Philip Rosenthal provides the voice of the father in the "new Grand Canyon" commercial with Hanks. Due to time restraints, several guests who had recorded parts were cut from the film. Minnie Driver recorded the part of a patronizing grievance counselor in a scene that ended up being cut. Edward Norton recorded the part of the man who gets crushed as the dome is implemented, performing a Woody Allen impression. The staff felt the voice was too distracting, so Castellaneta re-recorded Norton's dialogue with a different voice. Isla Fisher and Erin Brockovich also recorded cameos, but their scenes were cut. Kelsey Grammer recorded lines for Sideshow Bob, who was to appear at several different points, but these scenes were also cut. Johnny Knoxville was also touted as a possible guest star.
Although he does not provide the voice, Arnold Schwarzenegger is president of the United States rather than then-President George W. Bush because, according to Groening, "in two years ... the film [would be] out of date". Brooks was nervous about the idea, noting that "[Schwarzenegger's] opinion polls were way down", and has said that they "were [hoping] he'd make a political comeback". The animators began by drawing an accurate caricature of Schwarzenegger, but one of the staff instead suggested an altered version of recurring character Rainier Wolfcastle as President. This idea was developed, with the design of Wolfcastle, himself also a caricature of Schwarzenegger, being given more wrinkles under his eyes and a different hairstyle.
Editing
Every aspect of the film was constantly analyzed, with storylines, jokes and characters regularly being rewritten. Although most animated films do not make extensive changes to the film during active production due to budget restrictions, The Simpsons Movie crew continued to edit their film into 2007, with some edits taking place as late as May, two months before the film was released. James L. Brooks noted, "70 percent of the things in [one of the trailers]—based on where we were eight weeks ago—are no longer in the movie." Groening said that enough material for two more films was cut. Various new characters were created, and then cut because they did not contribute enough. Originally Marge was the character who had the prophetic vision in church. The writers however considered this to be too dark and it was changed to Grampa. The role of Lisa's love interest Colin was frequently revised. He was previously named Dexter and Adrien, and his appearance was completely altered. One idea was to have Milhouse act as Lisa's love interest, but the writers realized "the audience was not as familiar with [his] long-standing crush on [Lisa] as [they had] thought". A car chase in which Homer throws flaming mummies out of a truck at the EPA was replaced with "more emotional and realistic" scenes at the motel and carnival that allowed for a change of pace. The scene of a naked Bart on his skateboard was Groening's idea, who had always wanted to have Bart skateboarding naked, and Scully had the idea of showing Bart's penis for two seconds. Storyboard Michael Archer was credited for devising the way to cover Bart's genitals with different things before they are exposed to the viewer. While the crew agreed that the gag would be funny, they wondered it if would mean an R-rating for the film, as they were happy with a PG-13 rating and that gag was nonsexual and silly. They were ultimately to get away with the joke because it wasn't live-action nor was it Homer's genitals.
Further changes were made after the March 2007 preview screenings of the film in Portland, Oregon and Phoenix, Arizona. This included the deletion of Kang and Kodos heavily criticizing the film during the end credits. A lot of people at the screenings found the original film too coarse, and some of Homer's behavior too unkind, so several scenes were toned down to make him appear nicer. Russ Cargill was redesigned several times, originally appearing as an older man whose speech patterns Albert Brooks based on Donald Rumsfeld. The older model was the one used by Burger King for the action figure. Cargill's scene with Bart and Homer at the film's conclusion was added in to fully resolve his story, and the "Spider-Pig" gag was also a late addition. One excised scene, before the dome is put over Springfield, had Mr. Burns reminding viewers that it was the last point in the film that they could get a refund. Other deletions included Homer's encounter with a sausage truck driver, which was featured on the DVD, a scene with Plopper the pig at the end, and a news report, showing the dome's effect on daily life in Springfield in areas such as farming and sport, was cut because it did not fit the overall context of the film. Several musical numbers, at various intervals throughout the film, were cut. These included a song about Alaska, featuring music by Dave Stewart of Eurythmics. Jean said it "got pretty far along in the animation, and then we got scared that the movie began to drag in that section."
Music
Producer James L. Brooks chose Hans Zimmer to compose the film's score, as they were good friends and regular collaborators. Zimmer felt that the score was a "unique challenge", and he had to "try and express the style of The Simpsons without wearing the audience out". He used Danny Elfman's original opening theme, but did not wish to overuse it. He created themes for each member of the family. Homer's leitmotif was a major focus, and Zimmer also composed smaller themes for Bart and Marge. Regular television series composer Alf Clausen was not asked to score the film, noting: "sometimes you're the windshield, sometimes you're the bug".
In addition to their appearance in the film, Green Day recorded its own version of the Simpsons theme, and released it as a single. Zimmer turned the Spider-Pig song into a choral piece, which was a joke he never intended to be put into the film. Zimmer also had to write foreign-language lyrics for the 32 dubbed versions of the song when the film was released internationally. He found translating the song into Spanish the hardest to write. The same choir learned to sing the piece for each of the foreign-language dubs.
Themes
Al Jean described the film's message as being "a man should listen to his wife". In addition, the film parodies two major contemporary issues, religion and environmentalism. The theme of environmentalism is present throughout the film: in Homer's polluting of Lake Springfield, Green Day's cameo, Lisa's activism and her romance with Colin. The villainous Russ Cargill is head of the Environmental Protection Agency. Reviewer Ed Gonzalez argued the plot was a satire of the government's reaction to the effects of Hurricane Katrina on New Orleans. Ian Nathan of Empire magazine criticized this focus, believing it gave the film an "overt political agenda [which] border[s] on polemic". James D. Bloom of Muhlenberg College commented on the "explicitness" of the film's "intellectual agenda", on this issue, shown particularly through Lisa. He wrote that the film's first post-opening credits scene, which sees Green Day fail in an attempt to engage their audience on the issue of the environment, "sets in motion a plot expressly built around cultural agenda-setting" and "reflection on timely 'issues'."
Religion is focused on in Grampa's momentary possession, and Marge believing what he said to be a message from God. Groening joked the film "posit[s] the existence of a very active God", when asked if he believed it was likely to offend. Mark I. Pinsky, author of The Gospel According to The Simpsons, said the film "treats genuine faith with respect, while keeping a sharp eye out for religious pretension and hypocrisy of all kinds". Regarding the scene where the tenants of Moe's Tavern and the Church switch locations, he believed it took the "chance to unmask everyone's human fallibility." In analyzing the role of Ned Flanders, he wrote, "It is [the] willingness of The Simpsons to depict all the different sides of us [...] that makes it so rich and funny on our complicated relationship with religion." Trees are a motif in the film, and they were implemented in every important or emotional scene throughout the film. The animators inserted an apple tree behind Lisa and Colin during their initial meeting, which was a reference to the biblical figures of Adam and Eve and the Garden of Eden.
Cultural references
Many cultural references and allusions are made throughout the film. Green Day play "Nearer, My God, to Thee" on violins as their barge sinks, in a sequence parodying the film Titanic. When Bart is riding his skateboard naked, different passing objects are almost constantly covering his genitalia, a nod to similar techniques used in Austin Powers: International Man of Mystery. Homer and Marge's love scene parodies many Disney films, including Cinderella, with Disney-style animals helping them undress. Originally, the music from The Wizard of Oz was used in that scene, and the fawn had white spots; these were removed because the animators felt it resembled Bambi too clearly. Bart impersonates Mickey Mouse on the train, calling himself "the mascot of an evil corporation". Homer plays Grand Theft Walrus, an allusion to the video game series Grand Theft Auto. In the game, his character shoots a tap-dancing penguin in reference to the film Happy Feet. The "Spider-Pig" song is a parody of the theme song of the 1967 Spider-Man TV series, and the name of Lisa's lecture is An Irritating Truth, a play on Al Gore's film An Inconvenient Truth. The bomb disposal robot was based on Vincent D'Onofrio's character Leonard "Pyle" Lawrence from the film Full Metal Jacket, who commits suicide in a similar way. At the end of the film, the crowd's celebration is similar to the conclusion of Return of the Jedi, with Carl performing exactly the same hand gestures as Lando Calrissian.
The $1,000 Homer received when entering Alaska is a reference to the Alaska Permanent Fund Dividend. As Homer leaves Eski-Moe's he grabs on to a passing truck and uses it to propel himself back to the house, a tribute to actor Buster Keaton, while the epiphany scene features homages to the film Brazil and the works of Salvador Dalí. Hillary Clinton appears as Itchy's vice president, while an Orc from The Lord of the Rings appears in the mob scene. A scene that was cut had Marge and the kids appear on the TV talk show The View to spread the news of Springfield's impending doom. Parts were written for the show's entire panel and the scene was planned to feature Russ Cargill having a gunfight with Joy Behar. Another dropped scene featured Moe describing Springfield's varying physical states inside the dome, one of which was the Disneyland ride Autopia. There are several references to events in previous TV episodes of The Simpsons. These include the wreckage of the ambulance from the episode "Bart the Daredevil" crashed into a tree next to Springfield Gorge. The Carpenters' song "(They Long to Be) Close to You" was used in Homer and Marge's wedding video and had also been used in several emotional moments between them in the TV series.
Release
Theatrical
On April 1, 2006, 20th Century Fox announced that the film would be released worldwide on July 27, 2007. The film was released a day earlier in Australia and the United Kingdom. Little information about the plot was released in the weeks building up to the film's release. Groening did not feel that "people look in the TV section of the newspaper and think, 'I'll watch this week's Simpsons because I like the plot.' You just tune in and see what happens."
Fox held a competition among 16 Springfields across the United States to host the American premiere. Each Springfield produced a film, explaining why their town should host the premiere, with the results being decided via a vote on the USA Today website. Springfield, Minnesota dropped out on May 31, 2007. The winner was announced on July 10 to be Springfield, Vermont. The town beat Springfield, Illinois by 15,367 votes to 14,634. Each of the other 14 entrants held their own smaller screenings of the film on July 26. Springfield, Vermont hosted the world premiere of the film on July 21 with a yellow carpet instead of the traditional red.
The film was rated PG-13 by the Motion Picture Association of America for "irreverent humor throughout"; the production staff had expected this rating. However, the British Board of Film Classification passed the film as a PG with no cuts made. A BBFC spokeswoman said regarding Bart's brief nude scene, "natural nudity with no sexual content is acceptable in PG films". The film was banned in Myanmar, not for the scene of nudity, but for the excessive use of the colors yellow and red, which is prohibited in the country.
Marketing
The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion.
Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away.
McFarlane Toys released a line of action figures based on the film while EA Games released The Simpsons Game to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system.
Home media
The film was released on DVD and Blu-ray Disc worldwide on December 3, 2007, and on December 18 in the United States. It contains commentary tracks from both the producers and animators, six short deleted scenes, and a selection of material used to promote the film release. An unfinished deleted scene of the townspeople singing the Springfield Anthem was also included on The Simpsons The Complete Tenth Season DVD box set.
Promotions for the DVD release occurred across the United States. The Empire State Building was illuminated yellow, the first time the building had ever been used as part of a film promotion. In the United Kingdom, Fox launched a £5 million advertising campaign. They also signed a £1.6 million deal with the yogurt company Yoplait, to produce a The Simpsons Movie design for their brand Frubes. In its first week it topped the U.S. DVD chart, and generated $11.8 million in rental revenue.
The Simpsons Movie was included on Disney+ on November 12, 2019.
Reception
Critical reception
On Rotten Tomatoes, the film has an approval rating of 87% based on 223 reviews and an average rating of 7.5/10. The site's critical consensus reads, "The Simpsons Movie contains the hearty laughs, biting satire, and honest portrayal of an American family that makes the show so popular. And it boasts slicker animation and polished writing that hearkens back to the show's glory days." On Metacritic, it received a score of 80 out of 100, based on 36 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.
British newspapers The Guardian and The Times both gave the film four out of five stars. The Times' James Bone said that it "boasts the same sly cultural references and flashes of brilliance that have earned the television series a following that ranges from tots to comparative literature PhDs". The Guardian's Peter Bradshaw stated that it "gives you everything you could possibly want" and that he thought, "Eighty-five minutes [was] not long enough to do justice to 17 years of comedy genius". Ed Gonzalez praised the film for its political message, likening the Itchy & Scratchy cartoon at the beginning to President Schwarzenegger's situation later on, as well as the film's visual gags. Randy Shulman praised the cast, and described them as having "elevated their vocal work to a craft that goes way beyond simple line readings", and particularly praised Kavner who he said "gave what must be the most heartfelt performance ever". Roger Ebert gave a positive review of three out of four stars, but admitted he was "generally [not] a fan of movies spun off from TV animation". He called it "radical and simple at the same time, subversive and good-hearted, offensive without really meaning to be". Richard Corliss of Time said that the film "doesn't try to be ruder or kinkier, just bigger and better".
USA Today film critic Claudia Puig said that the story did "warrant a full-length feature, thanks to a clever plot and non-stop irreverent humor". Patrick Kolan believed that the film was "easily the best stuff to come [from the Simpsons] since season 12 or 13" and praised the animation, but also said that the appearances of characters such as Comic Book Guy and Seymour Skinner were "small and unfunny". Kirk Honeycutt of The Hollywood Reporter praised the film's good nature, stating that the laughs "come in all sizes", but also noted that, "little has been gained bringing the Simpsons to the screen."
Variety's Brian Lowry called it "clever, irreverent, satirical and outfitted" but that it was "just barely" capable of sustaining a running time longer than a television episode. Lisa Schwarzbaum praised the voice cast but stated that the "'action' sequences sometimes falter". When comparing the film to the early episodes of the show, Stephen Rowley concluded that the film "has more going for it than the show in its later years, but is still a long way short of what made it so invigorating". The Monthly critic Luke Davies echoed Lowry's concerns about the length: "everything moves with the whip-crack speed of a half-hour episode. And that's the paradox: it makes the film feel like three episodes strung together. We're in a cinema, and we expect something epic." He opined that "in the great arc that is the history of The Simpsons, this film will come to be seen as oddity rather than apotheosis."
More negative reception came from the magazine Empire, where reviewer Ian Nathan compared the film to New Coke, saying that "it utterly failed". Phil Villarreal believed that there were "too few laugh-worthy moments" and that "instead of stretching to new frontiers, the film rests on the familiar". Sheila Johnston criticized the pacing of the film and its joke level saying that "the overall momentum flags at times" and that it was "a salvo of comic squibs, some very funny, others limp". David Edwards agreed with this, writing that although "there's a great half-hour show rattling around...the rest is padding at its very dullest", concluding that it "isn't a terrible film, just a terribly disappointing one." Cosmo Landesman believed, "the humour seem[ed] to have lost its satirical bite and wit" and that "much of the comedy is structured around the idiocy of Homer". This assessment was shared by Carina Chocano of the Los Angeles Times, who felt that "once the movie wanders into its contemplation of mortality and meaning, the trenchancy kind of creaks and falls off." She negatively compared it to South Park: Bigger, Longer & Uncut (1999), a film similarly adapted from an animated television series, saying that, in terms of satire, it offers "nothing we don't hear every night on The Daily Show with Jon Stewart." Bruce Newman criticized the fleeting appearances of many of the show's secondary characters, and found the film to be "a disappointment".
Box office
The film earned $30,758,269 on its opening day in the U.S. making it the 25th-highest, and fifth-highest non-sequel opening day revenue of all time. It grossed a combined total of $74,036,787 in its opening weekend on 5,500 screens at 3,922 theaters, reaching the top of the box office for that weekend. This made it the tenth-highest revenue of all time, for an opening weekend in July, and highest among non-sequels, and the highest animated TV adaptation of all time. This outperformed the expectations of $40 million that Fox had for the release.
It set several American box office records, including highest grossing opening weekend for a non-CG animated film and for a film based on a television series, surpassing Mission: Impossible 2. It was also the third-highest grossing opening weekend for an animated film. It opened at the top of the international box office taking $96 million from 71 overseas territories, including $27.8 million in the United Kingdom, the second-highest UK opening ever for a 20th Century Fox film. It contributed to over half of the record 5.5 million people attending British cinemas that weekend. In Australia, it grossed $13.2 million, the third-highest opening weekend in the country, and the highest for an animated film. The United Kingdom is the highest-grossing country for the film outside the US with a $78.4 million gross overall, with Germany in second place with a $36.3 million gross overall. The film closed on December 20, 2007 with a gross of $183.1 million in the United States and Canada and a worldwide gross of $536.4. It was the eighth-highest-grossing film worldwide and the twelfth-highest grossing in the United States and Canada of 2007.
Accolades
The Simpsons Movie won the award for Best Comedy Film at the British Comedy Awards, Best Animation at the inaugural ITV National Movie Awards, and Best Movie at the UK Nickelodeon Kids Choice Awards, beating Harry Potter and the Order of the Phoenix, Pirates of the Caribbean: At World's End, and Shrek the Third. The film's trailer won a Golden Trailer Award in the category Best Animated/Family Film Trailer at the 8th Annual Golden Trailer Awards. Forbes named the film the third best of the year, based on its box office takings and Metacritic critical response score. The film's website received a Webby Award at the 12th Annual Webby Awards in the category "Best Movie and Film Website".
At the 35th Annie Awards the film was nominated in four categories: Best Animated Feature, Directing in an Animated Feature Production, Writing in an Animated Feature Production, and Voice Acting in an Animated Feature Production for Julie Kavner. All four awards were won by Ratatouille. It was nominated for Best Animated Feature Film at the 65th Golden Globe Awards, the BAFTA for Best Animated Film, and the Producers Guild Award for Animated Theatrical Motion Picture. It also received nominations for the Satellite Award for Best Animated or Mixed Media Feature, the Chicago Film Critics Association Award for Best Animated Feature, and the Broadcast Film Critics Association Award for Best Animated Feature.
Before its release, the film received a nomination at the 2007 MTV Movie Awards for "Best Summer Movie You Haven't Seen Yet", with the award ultimately won by Transformers, and lost the Teen Choice Award for "Choice Summer Movie – Comedy/Musical", which was won by Hairspray. It was also nominated for Favorite Movie Comedy at the People's Choice Awards, losing to Knocked Up.
Planned sequel
In 2014, Brooks stated that he had been approached by Fox and that they had requested a second film. He added that there were no immediate plans, stating, "We've been asked to [develop it], but we haven't. We're doing a lot of other stuff." In December 2014, just prior to the broadcast of the episode "The Man Who Came to Be Dinner", Jean wrote on Twitter that the episode (which had been produced in 2012 and was originally set to air in May 2013) had been held back by himself and Brooks because it was being considered for adaptation into a sequel film as the episode was "cinematic". Jean later expanded that there was the fear of the potential film being considered "not canonical" with the TV series and the potential backlash of overcoming it by using a "memory wipe". In July 2017, Silverman and Jean said that the sequel was in the early stages of development and stressed the toll production of the first picture took on the entire staff. On August 10, 2018, it was reported that a sequel is in development. On July 22, 2019, Groening stated that he has "no doubts" that Disney will likely produce a sequel one day. In July 2021, Jean stated that discussions for the potential sequel had stalled due to the COVID-19 pandemic.
References
External links
2007 films
2007 animated films
2007 comedy films
2007 directorial debut films
2000s American animated films
20th Century Fox animated films
20th Century Fox Animation films
20th Century Fox films
American adult animated films
American films
American animated comedy films
Animated comedy films
Animated films based on animated series
Animated films based on animated television series
Animated films set in the United States
The Simpsons
English-language films
Films about dysfunctional families
Films directed by David Silverman
Films produced by James L. Brooks
Films produced by Matt Groening
Films scored by Hans Zimmer
Films set in fictional populated places
Films with screenplays by James L. Brooks
Films with screenplays by John Swartzwelder
Films with screenplays by Matt Groening
Fox Television Animation films
Gracie Films films
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"Jacobus Verkade (29 March 1906, Zaandam – 26 June 2008, Holten) was the grandson of Ericus Verkade, founder of the Verkade manufacturing company. He specialized in sales and marketing and was responsible for, for instance, the packaging of Verkade cookies in metal tins, which quickly became collector's items. Co Verkade began working for the company in 1924. In 1936, he and his four brothers (Frans, Arnold, Jan, and Tom) ran the company; Co was a company director until December 1960, when he was ousted by his brother Frans; he continued to work for the company until 1965.\n\nCo Verkade is credited with making Verkade a household name in the Netherlands. One of his successful marketing ploys was the Verkade album; customers received a picture card with every roll of Verkade rusk which they glued into albums. These albums were on topics such as history, art, and especially nature--the latter written by Dutch botanist Jac. P. Thijsse. Generating a collecting mania among the Dutch population before World War II, 27 albums were made, a total of 3.2 million copies. At age 101, Co Verkade drove the first pile for the Verkade pavilion at the Zaans Museum.\n\nHe married Maja Knipscheer in 1929. After she died, in 1980, he lived with Ien, until her death in 2002. In 2005 he published an autobiography, Een leven in biskwie en chocolade (\"A life in biscuits and chocolate\").\n\nReferences\n\nSee also\n Verkade (family)\n\n1906 births\n2008 deaths\nDutch centenarians\nDutch industrialists\nMen centenarians\nPeople from Zaanstad",
"Mannibalector is the 8th studio album by American rapper Brotha Lynch Hung. It was released on February 5, 2013, by Strange Music. It serves as the third and final installment of this \"Coathanga Strangla\" trilogy, following these albums; including Dinner and a Movie (2010) and Coathanga Strangla (2011). It would be his last full-length album for Strange Music, as he left the label in 2015. The album features guest appearances from Wrekonize, Bernz, Yelawolf, COS, Irv Da Phenom, Trizz, Bleezo, G-Macc, Tech N9ne and Hopsin.\n\nBackground\nBrotha Lynch Hung has been working with a record producer Seven for “over a year” producing his new album, called Mannibalector. Seven said, “Lynch’s mind works differently”, his way of “constructing songs” is different than others. Also that Hung will “have the whole album structure: song titles and everything before we’ve made any of the songs. It’s interesting and different to get to work that way with an artist”. Another aspect that was difficult for Hung was to find features that fit into the storyline. Hung picked Yelawolf and Hopsin as they “fit in with their perspective that they had to follow through on”. Hung never rejected a beat from Seven “because everything just matched”\n\nLyrics and production\nIn an interview with Strange Music, Hung said his “lyrical ability was limited because I had to more so tell stories than mostly worry about lyrics”. The album is about an era of his life that's been ended. With Fearnet, Hung discusses about how the character within the album became this serial killer. Hung said “he's lost and friendless at that point, and like I said a lot of that comes from my own life, when I've let a lot of people go and went my way alone”, adding to that Hung “used Mannibalector to get out some of those feelings” from his past.\n\nReception\n\nCritical response\n\nMannibalector received generally positive reviews from music critics. In a positive review AllMusic's David Jeffries writes \"Hung is a craftsman, kicking off this horror movie on wax with a TV news report that gives up the back-story and then goes full Hollywood, joining skits, numerous sound effects, and a relentless, blockbuster pace, all making this an album worth avoiding if it's dark.\" Roman Cooper of HipHopDX noted \"Make no mistake, BLH’s emceeing arsenal is still quite impressive. Whether it’s the rapid-fire flows over the frenetic and disturbing strings of “Krocadil” or steady delivery over extremely minimalist production on “MDK,” Lynch is unquestionably adept at his craft.\"\n\nCommercial performance\nMannibalector debuted at number 67 on the US Billboard 200, at number 8 on the Top Rap Albums and at number 13 on the Top Independent Albums charts, with first-week sales of 8,000 copies in the United States.\n\nTrack listing \n\nNotes\n Track listing and credits from album booklet.\n \"Newsflash\" features additional vocals by Seven, Robert Rebeck, Chandra Rebeck, Andrew Ross and Neil Simpson.\n \"Bacon N Eggs\" features additional vocals by Trizz and Lauren Brinson.\n \"Fucced Up\" features additional vocals by Dave Weiner.\n \"Something About Susan\" features additional vocals by Tallcann G.\n \"The River\" features additional vocals by Don Rob and Robert Rebeck.\n \"Mask and Knife\" features additional vocals by Alex Glass.\n \"Instruments\" features additional vocals by G-Smooth.\n \"Body On the Floor\" features additional vocals by Seven.\n \"Have You Checked the Children?\" features additional vocals by Lauren Brinson.\n \"Sweeney Todd\" features additional vocals by Lauren Brinson.\n \"Dead Bitch\" features additional vocals by Travis O'Guin.\n\nCourtesy\n Yelawolf appears courtesy of Shady/DGC/Interscope Records.\n\nPersonnel \nCredits for Mannibalector adapted from the album liner notes.\n\n Richie Abbott – publicity\n Axis – producer\n Tom Baker – mastering\n Aaron Bean – marketing & promotions, street marketing\n Bernz – featured artist\n Bleezo – featured artist\n Brent Bradley – internet marketing\n Lauren Brinson – additional vocals\n Brotha Lynch Hung – primary artist\n Violet Brown – production assistant\n Valdora Case – production assistant\n Jared Coop – merchandising\n COS – featured artist\n Glenda Cowan – production assistant\n Penny Ervin – merchandising\n Braxton Flemming – merchandising\n Evan \"NonStop\" Fountaine – producer\n G Macc – featured artist\n G-Smooth – additional vocals\n Alex Glass – additional vocals\n Ben Grossi – project consultant, general management\n Mary Harris – merchandising\n Hopsin – featured artist\n Irv da Phenom – featured artist\n Robert Lieberman – legal\n Ryan Lindberg – internet marketing\n Liquid 9 – art direction & design\n Korey Lloyd – production assistant, project management, publicity coordinator\n James Meierotto – photography\n Brett Morrow – internet marketing\n Jeff Nelson – internet marketing\n Cory Nielsen – production assistant\n Jose Ramirez – street marketing\n Chandra Rebeck – additional vocals\n Robert Rebeck – mixing, producer, additional vocals\n Don Rob – additional vocals\n Chris Rooney – internet marketing\n Andrew Ross – additional vocals\n Victor Sandoval – internet marketing\n Brian Shafton – project consultant, general management\n Neil Simpson – additional vocals\n Michael \"Seven\" Summers – A&R, producer, additional vocals\n Tallcann G – additional vocals\n Tech N9ne – featured artist\n Dawn O'Guin – production assistant\n Travis O'Guin – executive producer, A&R, additional vocals\n Trizz – featured artist\n Dave Weiner – A&R, associate producer, additional vocals\n Wrekonize – featured artist\n Yelawolf – featured artist\n\nReferences\n\nBrotha Lynch Hung albums\n2013 albums\nAlbums produced by Seven (record producer)\nStrange Music albums\nRap operas\nConcept albums"
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"John Rawls",
"Principles of justice"
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What is the Principles of justice?
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What is John Rawls' Principles of justice?
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John Rawls
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Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick). Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged. Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers. Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice". In this respect, he understood justice as fairness as a contribution to "ideal theory", the determination of "principles that characterize a well-ordered society under favorable circumstances". Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory". CANNOTANSWER
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The first of these is the Liberty Principle,
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John Bordley Rawls (; February 21, 1921 – November 24, 2002) was an American moral and political philosopher in the liberal tradition. Rawls received both the Schock Prize for Logic and Philosophy and the National Humanities Medal in 1999, the latter presented by President Bill Clinton, in recognition of how Rawls's work "revived the disciplines of political and ethical philosophy with his argument that a society in which the most fortunate help the least fortunate is not only a moral society but a logical one".
In 1990, Will Kymlicka wrote in his introduction to the field that "it is generally accepted that the recent rebirth of normative political philosophy began with the publication of John Rawls's A Theory of Justice in 1971". Rawls has often been described as one of the most influential political philosophers of the 20th century. He has the unusual distinction among contemporary political philosophers of being frequently cited by the courts of law in the United States and Canada and referred to by practising politicians in the United States and the United Kingdom. In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years".
Rawls's theory of "justice as fairness" recommends equal basic liberties, equality of opportunity, and facilitating the maximum benefit to the least advantaged members of society in any case where inequalities may occur. Rawls's argument for these principles of social justice uses a thought experiment called the "original position", in which people deliberately select what kind of society they would choose to live in if they did not know which social position they would personally occupy. In his later work Political Liberalism (1993), Rawls turned to the question of how political power could be made legitimate given reasonable disagreement about the nature of the good life.
Biography
Early life
Rawls was born in Baltimore, Maryland. He was the second of five sons born to William Lee Rawls, a prominent Baltimore attorney, and Anna Abell Stump Rawls. Tragedy struck Rawls at a young age:
Two of his brothers died in childhood because they had contracted fatal illnesses from him. ... In 1928, the seven-year-old Rawls contracted diphtheria. His brother Bobby, younger by 20 months, visited him in his room and was fatally infected. The next winter, Rawls contracted pneumonia. Another younger brother, Tommy, caught the illness from him and died.
Rawls's biographer Thomas Pogge calls the loss of the brothers the "most important events in John's childhood."
Rawls graduated from the Calvert School in Baltimore before enrolling in the Kent School, an Episcopalian preparatory school in Connecticut. Upon graduation in 1939, Rawls attended Princeton University, where he was accepted into The Ivy Club and the American Whig-Cliosophic Society. At Princeton, Rawls was influenced by Norman Malcolm, Ludwig Wittgenstein's student. During his last two years at Princeton, he "became deeply concerned with theology and its doctrines." He considered attending a seminary to study for the Episcopal priesthood and wrote an "intensely religious senior thesis (BI)." In his 181-page long thesis titled "Meaning of Sin and Faith," Rawls attacked Pelagianism because it "would render the Cross of Christ to no effect." His argument was partly drawn from Karl Marx's book On the Jewish Question, which criticized the idea that natural inequality in ability could be a just determiner of the distribution of wealth in society. Even after Rawls became an atheist, many of the anti-Pelagian arguments he used were repeated in A Theory of Justice. Rawls graduated from Princeton in 1943 with a Bachelor of Arts summa cum laude.
Military service, 1943–46
Rawls enlisted in the U.S. Army in February 1943. During World War II, Rawls served as an infantryman in the Pacific, where he served a tour of duty in New Guinea and was awarded a Bronze Star; and the Philippines, where he endured intensive trench warfare and witnessed traumatizing scenes of violence and bloodshed. It was there that he lost his Christian faith and became an atheist.
Following the surrender of Japan, Rawls became part of General MacArthur's occupying army and was promoted to sergeant. But he became disillusioned with the military when he saw the aftermath of the atomic blast in Hiroshima. Rawls then disobeyed an order to discipline a fellow soldier, "believing no punishment was justified," and was "demoted back to a private." Disenchanted, he left the military in January 1946.
Academic career
In early 1946, Rawls returned to Princeton to pursue a doctorate in moral philosophy. He married Margaret Warfield Fox, a Brown University graduate, in 1949. They had four children, Anne Warfield, Robert Lee, Alexander Emory, and Elizabeth Fox.
Rawls received his Ph.D. from Princeton in 1950 after completing a doctoral dissertation titled A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Rawls taught there until 1952 when he received a Fulbright Fellowship to Oxford University (Christ Church), where he was influenced by the liberal political theorist and historian Isaiah Berlin and the legal theorist H. L. A. Hart. After returning to the United States he served first as an assistant and then associate professor at Cornell University. In 1962, he became a full professor of philosophy at Cornell, and soon achieved a tenured position at MIT. That same year, he moved to Harvard University, where he taught for almost forty years and where he trained some of the leading contemporary figures in moral and political philosophy, including Sibyl-A-Schwarzenbach, Thomas Nagel, Allan Gibbard, Onora O'Neill, Adrian Piper, Arnold Davidson, Elizabeth S. Anderson, Christine Korsgaard, Susan Neiman, Claudia Card, Rainer Forst, Thomas Pogge, T. M. Scanlon, Barbara Herman, Joshua Cohen, Thomas E. Hill Jr., Gurcharan Das, Andreas Teuber, Samuel Freeman and Paul Weithman. He held the James Bryant Conant University Professorship at Harvard.
Later life
Rawls seldom gave interviews and, having both a stutter (partially caused by the deaths of two of his brothers, who died through infections contracted from Rawls) and a "bat-like horror of the limelight," did not become a public intellectual despite his fame. He instead remained committed mainly to his academic and family life.
In 1995, he suffered the first of several strokes, severely impeding his ability to continue to work. He was nevertheless able to complete The Law of Peoples, the most complete statement of his views on international justice, and published in 2001 shortly before his death Justice As Fairness: A Restatement, a response to criticisms of A Theory of Justice. Rawls died on November 24, 2002, at age 81, and was buried at the Mount Auburn Cemetery in Massachusetts. He was survived by his wife, Mard Rawls, and their four children, and four grandchildren.
Philosophical thought
Rawls published three main books. The first, A Theory of Justice, focused on distributive justice and attempted to reconcile the competing claims of the values of freedom and equality. The second, Political Liberalism, addressed the question of how citizens divided by intractable religious and philosophical disagreements could come to endorse a constitutional democratic regime. The third, The Law of Peoples, focused on the issue of global justice.
A Theory of Justice
A Theory of Justice, published in 1971, aimed to resolve the seemingly competing claims of freedom and equality. The shape Rawls's resolution took, however, was not that of a balancing act that compromised or weakened the moral claim of one value compared with the other. Rather, his intent was to show that notions of freedom and equality could be integrated into a seamless unity he called justice as fairness. By attempting to enhance the perspective which his readers should take when thinking about justice, Rawls hoped to show the supposed conflict between freedom and equality to be illusory.
Rawls's A Theory of Justice (1971) includes a thought experiment he called the "original position." The intuition motivating its employment is this: the enterprise of political philosophy will be greatly benefited by a specification of the correct standpoint a person should take in his or her thinking about justice. When we think about what it would mean for a just state of affairs to obtain between persons, we eliminate certain features (such as hair or eye color, height, race, etc.) and fixate upon others. Rawls's original position is meant to encode all of our intuitions about which features are relevant, and which irrelevant, for the purposes of deliberating well about justice.
The original position is Rawls' hypothetical scenario in which a group of persons is set the task of reaching an agreement about the kind of political and economic structure they want for a society, which they will then occupy. Each individual, however, deliberates behind a "veil of ignorance": each lacks knowledge, for example, of his or her gender, race, age, intelligence, wealth, skills, education and religion. The only thing that a given member knows about themselves is that they are in possession of the basic capacities necessary to fully and wilfully participate in an enduring system of mutual cooperation; each knows they can be a member of the society.
Rawls posits two basic capacities that the individuals would know themselves to possess. First, individuals know that they have the capacity to form, pursue and revise a conception of the good, or life plan. Exactly what sort of conception of the good this is, however, the individual does not yet know. It may be, for example, religious or secular, but at the start, the individual in the original position does not know which. Second, each individual understands him or herself to have the capacity to develop a sense of justice and a generally effective desire to abide by it. Knowing only these two features of themselves, the group will deliberate in order to design a social structure, during which each person will seek his or her maximal advantage. The idea is that proposals that we would ordinarily think of as unjust – such as that black people or women should not be allowed to hold public office – will not be proposed, in this, Rawls' original position, because it would be irrational to propose them. The reason is simple: one does not know whether he himself would be a woman or a black person. This position is expressed in the difference principle, according to which, in a system of ignorance about one's status, one would strive to improve the position of the worst off, because he might find himself in that position.
Rawls develops his original position by modelling it, in certain respects at least, after the "initial situations" of various social contract thinkers who came before him, including Thomas Hobbes, John Locke and Jean-Jacques Rousseau. Each social contractarian constructs his/her initial situation somewhat differently, having in mind a unique political morality s/he intends the thought experiment to generate. Iain King has suggested the original position draws on Rawls' experiences in post-war Japan, where the US Army was challenged with designing new social and political authorities for the country, while "imagining away all that had gone before."
In social justice processes, each person early on makes decisions about which features of persons to consider and which to ignore. Rawls's aspiration is to have created a thought experiment whereby a version of that process is carried to its completion, illuminating the correct standpoint a person should take in his or her thinking about justice. If he has succeeded, then the original position thought experiment may function as a full specification of the moral standpoint we should attempt to achieve when deliberating about social justice.
In setting out his theory, Rawls described his method as one of "reflective equilibrium," a concept which has since been used in other areas of philosophy. Reflective equilibrium is achieved by mutually adjusting one's general principles and one's considered judgements on particular cases, to bring the two into line with one another.
Principles of justice
Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick).
Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged.
Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls’ theory of justice stakes out the task of equalizing the distribution of primary social goods to those least advantaged in society and thus may be seen as a largely political answer to the question of justice, with matters of morality somewhat conflated into a political account of justice and just institutions. Relational approaches to the question of justice, by contrast, seek to examine the connections between individuals and focuses on their relations in societies, with respect to how these relationships are established and configured.
Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers.
Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice." In this respect, he understood justice as fairness as a contribution to "ideal theory," the determination of "principles that characterize a well-ordered society under favorable circumstances." Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory."
Political Liberalism
In Political Liberalism (1993), Rawls turned towards the question of political legitimacy in the context of intractable philosophical, religious, and moral disagreement amongst citizens regarding the human good. Such disagreement, he insisted, was reasonable – the result of the free exercise of human rationality under the conditions of open enquiry and free conscience that the liberal state is designed to safeguard. The question of legitimacy in the face of reasonable disagreement was urgent for Rawls because his own justification of Justice as Fairness relied upon a Kantian conception of the human good that can be reasonably rejected. If the political conception offered in A Theory of Justice can only be shown to be good by invoking a controversial conception of human flourishing, it is unclear how a liberal state ordered according to it could possibly be legitimate.
The intuition animating this seemingly new concern is actually no different from the guiding idea of A Theory of Justice, namely that the fundamental charter of a society must rely only on principles, arguments and reasons that cannot be reasonably rejected by the citizens whose lives will be limited by its social, legal, and political circumscriptions. In other words, the legitimacy of a law is contingent upon its justification being impossible to reasonably reject. This old insight took on a new shape, however, when Rawls realized that its application must extend to the deep justification of Justice as Fairness itself, which he had presented in terms of a reasonably rejectable (Kantian) conception of human flourishing as the free development of autonomous moral agency.
The core of Political Liberalism, accordingly, is its insistence that, in order to retain its legitimacy, the liberal state must commit itself to the "ideal of public reason." This roughly means that citizens in their public capacity must engage one another only in terms of reasons whose status as reasons is shared between them. Political reasoning, then, is to proceed purely in terms of "public reasons." For example: a Supreme Court justice deliberating on whether or not the denial to homosexuals of the ability to marry constitutes a violation of the 14th Amendment's Equal Protection Clause may not advert to his religious convictions on the matter, but he may take into account the argument that a same-sex household provides sub-optimal conditions for a child's development. This is because reasons based upon the interpretation of sacred text are non-public (their force as reasons relies upon faith commitments that can be reasonably rejected), whereas reasons that rely upon the value of providing children with environments in which they may develop optimally are public reasons – their status as reasons draws upon no deep, controversial conception of human flourishing.
Rawls held that the duty of civility – the duty of citizens to offer one another reasons that are mutually understood as reasons – applies within what he called the "public political forum." This forum extends from the upper reaches of government – for example the supreme legislative and judicial bodies of the society – all the way down to the deliberations of a citizen deciding for whom to vote in state legislatures or how to vote in public referenda. Campaigning politicians should also, he believed, refrain from pandering to the non-public religious or moral convictions of their constituencies.
The ideal of public reason secures the dominance of the public political values – freedom, equality, and fairness – that serve as the foundation of the liberal state. But what about the justification of these values? Since any such justification would necessarily draw upon deep (religious or moral) metaphysical commitments which would be reasonably rejectable, Rawls held that the public political values may only be justified privately by individual citizens. The public liberal political conception and its attendant values may and will be affirmed publicly (in judicial opinions and presidential addresses, for example) but its deep justifications will not. The task of justification falls to what Rawls called the "reasonable comprehensive doctrines" and the citizens who subscribe to them. A reasonable Catholic will justify the liberal values one way, a reasonable Muslim another, and a reasonable secular citizen yet another way. One may illustrate Rawls's idea using a Venn diagram: the public political values will be the shared space upon which overlap numerous reasonable comprehensive doctrines. Rawls's account of stability presented in A Theory of Justice is a detailed portrait of the compatibility of one – Kantian – comprehensive doctrine with justice as fairness. His hope is that similar accounts may be presented for many other comprehensive doctrines. This is Rawls's famous notion of an "overlapping consensus."
Such a consensus would necessarily exclude some doctrines, namely, those that are "unreasonable," and so one may wonder what Rawls has to say about such doctrines. An unreasonable comprehensive doctrine is unreasonable in the sense that it is incompatible with the duty of civility. This is simply another way of saying that an unreasonable doctrine is incompatible with the fundamental political values a liberal theory of justice is designed to safeguard – freedom, equality and fairness. So one answer to the question of what Rawls has to say about such doctrines is – nothing. For one thing, the liberal state cannot justify itself to individuals (such as religious fundamentalists) who hold to such doctrines, because any such justification would – as has been noted – proceed in terms of controversial moral or religious commitments that are excluded from the public political forum. But, more importantly, the goal of the Rawlsian project is primarily to determine whether or not the liberal conception of political legitimacy is internally coherent, and this project is carried out by the specification of what sorts of reasons persons committed to liberal values are permitted to use in their dialogue, deliberations and arguments with one another about political matters. The Rawlsian project has this goal to the exclusion of concern with justifying liberal values to those not already committed – or at least open – to them. Rawls's concern is with whether or not the idea of political legitimacy fleshed out in terms of the duty of civility and mutual justification can serve as a viable form of public discourse in the face of the religious and moral pluralism of modern democratic society, not with justifying this conception of political legitimacy in the first place.
Rawls also modified the principles of justice as follows (with the first principle having priority over the second, and the first half of the second having priority over the latter half):
Each person has an equal claim to a fully adequate scheme of basic rights and liberties, which scheme is compatible with the same scheme for all; and in this scheme the equal political liberties, and only those liberties, are to be guaranteed their fair value.
Social and economic inequalities are to satisfy two conditions: first, they are to be attached to positions and offices open to all under conditions of fair equality of opportunity; and second, they are to be to the greatest benefit of the least advantaged members of society.
These principles are subtly modified from the principles in Theory. The first principle now reads "equal claim" instead of "equal right," and he also replaces the phrase "system of basic liberties" with "a fully adequate scheme of equal basic rights and liberties." The two parts of the second principle are also switched, so that the difference principle becomes the latter of the three.
The Law of Peoples
Although there were passing comments on international affairs in A Theory of Justice, it was not until late in his career that Rawls formulated a comprehensive theory of international politics with the publication of The Law of Peoples. He claimed there that "well-ordered" peoples could be either "liberal" or "decent." Rawls's basic distinction in international politics is that his preferred emphasis on a society of peoples is separate from the more conventional and historical discussion of international politics as based on relationships between states.
Rawls argued that the legitimacy of a liberal international order is contingent on tolerating decent peoples, which differ from liberal peoples, among other ways, in that they might have state religions and deny adherents of minority faiths the right to hold positions of power within the state, and might organize political participation via consultation hierarchies rather than elections. However, no well-ordered peoples may violate human rights or behave in an externally aggressive manner. Peoples that fail to meet the criteria of "liberal" or "decent" peoples are referred to as 'outlaw states,' 'societies burdened by unfavourable conditions' or "benevolent absolutisms' depending on their particular failings. Such peoples do not have the right to mutual respect and toleration possessed by liberal and decent peoples.
Rawls's views on global distributive justice as they were expressed in this work surprised many of his fellow egalitarian liberals. For example, Charles Beitz had previously written a study that argued for the application of Rawls's Difference Principles globally. Rawls denied that his principles should be so applied, partly on the grounds that a world state does not exist and would not be stable. This notion has been challenged, as a comprehensive system of global governance has arisen, amongst others in the form of the Bretton Woods system, that serves to distribute primary social goods between human beings. It has thus been argued that a cosmopolitan application of the theory of justice as fairness is the more reasonable alternative to the application of The Law of Peoples, as it would be more legitimate towards all persons over whom political coercive power is exercised.
According to Rawls however, nation states, unlike citizens, were self-sufficient in the cooperative enterprises that constitute domestic societies. Although Rawls recognized that aid should be given to governments which are unable to protect human rights for economic reasons, he claimed that the purpose for this aid is not to achieve an eventual state of global equality, but rather only to ensure that these societies could maintain liberal or decent political institutions. He argued, among other things, that continuing to give aid indefinitely would see nations with industrious populations subsidize those with idle populations and would create a moral hazard problem where governments could spend irresponsibly in the knowledge that they will be bailed out by those nations who had spent responsibly.
Rawls's discussion of "non-ideal" theory, on the other hand, included a condemnation of bombing civilians and of the American bombing of German and Japanese cities in World War II, as well as discussions of immigration and nuclear proliferation. He also detailed here the ideal of the statesman, a political leader who looks to the next generation and promotes international harmony, even in the face of significant domestic pressure to act otherwise. Rawls also controversially claimed that violations of human rights can legitimize military intervention in the violating states, though he also expressed the hope that such societies could be induced to reform peacefully by the good example of liberal and decent peoples.
Influence and reception
Despite the exacting, academic tone of Rawls' writing and his reclusive personality, his philosophical work has exerted an enormous impact on not only contemporary moral and political philosophy but also public political discourse. During the student protests at Tiananmen Square in 1989, copies of "A Theory of Justice" were brandished by protesters in the face of government officials. Despite being approximately 600 pages long, over 300,000 copies of that book have been sold, stimulating critical responses from utilitarian, feminist, conservative, libertarian, Catholic, communitarian, Marxist and Green scholars, which Rawls welcomed.
Although having a profound influence on theories of distributive justice both in theory and in practice, the generally anti-meritocratic sentiment of Rawls' thinking has not been widely accepted by the political left. He consistently held the view that naturally developed skills and endowments could not be neatly distinguished from inherited ones, and that neither could be used to justify moral desert. Instead, he held the view that individuals could "legitimately expect" entitlements to the earning of income or development of abilities based on institutional arrangements. This aspect of Rawls' work has been instrumental in the development of such ideas as luck egalitarianism and unconditional basic income, which have themselves been criticized. The strictly egalitarian quality of Rawls' second principle of justice has called into question the type of equality that fair societies ought to embody.
The Communitarian Critique
Charles Taylor, Alasdair Macintyre, Michael Sandel, and Michael Walzer all have posed formidable oppositions to Rawls' theory of justice throughout their careers, stimulating a large reactionary body of normative and critical scholarship.
The September Group
The late philosopher G.A. Cohen, along with political scientist Jon Elster, and John Roemer used Rawls' writings extensively to inaugurate the Analytical Marxism movement in the 1980s.
The Frankfurt School
In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years", just ahead of Jürgen Habermas, whose scholarly work he engaged with during the later part of his career (see Habermas-Rawls debate), and Michel Foucault. Habermas' reading of Rawls lead to an appreciation of Rawls' work and other analytical philosophers by the esteemed Frankfurt School of critical theory, and many of Habermas' own students and associates were expected to be familiar with Rawls by the late 1980s. Rainer Forst, who was described in 2012 as the "most important political philosopher of his generation" was advised both by Rawls and Habermas in completing his PhD. Axel Honneth, Fabian Freyenhagen, and James Gordon Finlayson have also drawn on Rawls' work in comparison to Habermas.
Feminist political philosophy
Philosopher Eva Kittay has extended the work of John Rawls to address the concerns of women and the cognitively disabled.
Awards and honors
Bronze Star for radio work behind enemy lines in World War II.
Ralph Waldo Emerson Award (1972)
Member of the Norwegian Academy of Science and Letters (1992)
Schock Prize for Logic and Philosophy (1999)
National Humanities Medal (1999)
Asteroid 16561 Rawls is named in his honor.
Musical
John Rawls is featured as the protagonist of A Theory of Justice: The Musical!, an award-nominated musical comedy, which premiered at Oxford in 2013 and was revived for the Edinburgh Fringe Festival.
Publications
Bibliography
A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Ph.D. dissertation, Princeton University, 1950.
A Theory of Justice. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1971. The revised edition of 1999 incorporates changes that Rawls made for translated editions of A Theory of Justice. Some Rawls scholars use the abbreviation TJ to refer to this work.
Political Liberalism. The John Dewey Essays in Philosophy, 4. New York: Columbia University Press, 1993. The hardback edition published in 1993 is not identical. The paperback adds a valuable new introduction and an essay titled "Reply to Habermas." Some Rawls scholars use the abbreviation PL to refer to this work.
The Law of Peoples: with "The Idea of Public Reason Revisited." Cambridge, Massachusetts: Harvard University Press, 1999. This slim book includes two works; a further development of his essay entitled "The Law of Peoples" and another entitled "Public Reason Revisited," both published earlier in his career.
Collected Papers. Cambridge, Massachusetts: Harvard University Press, 1999. This collection of shorter papers was edited by Samuel Freeman.
Lectures on the History of Moral Philosophy. Cambridge, Massachusetts, Harvard University Press, 2000. This collection of lectures was edited by Barbara Herman. It has an introduction on modern moral philosophy from 1600 to 1800 and then lectures on Hume, Leibniz, Kant and Hegel.
Justice as Fairness: A Restatement. Cambridge, Massachusetts: Belknap Press, 2001. This shorter summary of the main arguments of Rawls's political philosophy was edited by Erin Kelly. Many versions of this were circulated in typescript and much of the material was delivered by Rawls in lectures when he taught courses covering his own work at Harvard University.
Lectures on the History of Political Philosophy. Cambridge, Massachusetts: Harvard University Press, 2007. Collection of lectures on Thomas Hobbes, John Locke, Joseph Butler, Jean-Jacques Rousseau, David Hume, John Stuart Mill and Karl Marx, edited by Samuel Freeman.
A Brief Inquiry into the Meaning of Sin and Faith. Cambridge, Massachusetts, Harvard University Press, 2010. With introduction and commentary by Thomas Nagel, Joshua Cohen and Robert Merrihew Adams. Senior thesis, Princeton, 1942. This volume includes a brief late essay by Rawls entitled On My Religion.
Articles
"Outline of a Decision Procedure for Ethics." Philosophical Review (April 1951), 60 (2): 177–97.
"Two Concepts of Rules." Philosophical Review (January 1955), 64 (1):3–32.
"Justice as Fairness." Journal of Philosophy (October 24, 1957), 54 (22): 653–62.
"Justice as Fairness." Philosophical Review (April 1958), 67 (2): 164–94.
"The Sense of Justice." Philosophical Review (July 1963), 72 (3): 281–305.
"Constitutional Liberty and the Concept of Justice" Nomos VI (1963)
"Distributive Justice: Some Addenda." Natural Law Forum (1968), 13: 51–71.
"Reply to Lyons and Teitelman." Journal of Philosophy (October 5, 1972), 69 (18): 556–57.
"Reply to Alexander and Musgrave." Quarterly Journal of Economics (November 1974), 88 (4): 633–55.
"Some Reasons for the Maximin Criterion." American Economic Review (May 1974), 64 (2): 141–46.
"Fairness to Goodness." Philosophical Review (October 1975), 84 (4): 536–54.
"The Independence of Moral Theory." Proceedings and Addresses of the American Philosophical Association (November 1975), 48: 5–22.
"A Kantian Conception of Equality." Cambridge Review (February 1975), 96 (2225): 94–99.
"The Basic Structure as Subject." American Philosophical Quarterly (April 1977), 14 (2): 159–65.
"Kantian Constructivism in Moral Theory." Journal of Philosophy (September 1980), 77 (9): 515–72.
"Justice as Fairness: Political not Metaphysical." Philosophy & Public Affairs (Summer 1985), 14 (3): 223–51.
"The Idea of an Overlapping Consensus." Oxford Journal for Legal Studies (Spring 1987), 7 (1): 1–25.
"The Priority of Right and Ideas of the Good." Philosophy & Public Affairs (Fall 1988), 17 (4): 251–76.
"The Domain of the Political and Overlapping Consensus." New York University Law Review (May 1989), 64 (2): 233–55.
"Roderick Firth: His Life and Work." Philosophy and Phenomenological Research (March 1991), 51 (1): 109–18.
"The Law of Peoples." Critical Inquiry (Fall 1993), 20 (1): 36–68.
"Political Liberalism: Reply to Habermas." Journal of Philosophy (March 1995), 92 (3):132–80.
"The Idea of Public Reason Revisited." Chicago Law Review (1997), 64 (3): 765–807. [PRR]
Book chapters
"Constitutional Liberty and the Concept of Justice." In Carl J. Friedrich and John W. Chapman, eds., Nomos, VI: Justice, pp. 98–125. Yearbook of the American Society for Political and Legal Philosophy. New York: Atherton Press, 1963.
"Legal Obligation and the Duty of Fair Play." In Sidney Hook, ed., Law and Philosophy: A Symposium, pp. 3–18. New York: New York University Press, 1964. Proceedings of the 6th Annual New York University Institute of Philosophy.
"Distributive Justice." In Peter Laslett and W. G. Runciman, eds., Philosophy, Politics, and Society. Third Series, pp. 58–82. London: Blackwell; New York: Barnes & Noble, 1967.
"The Justification of Civil Disobedience." In Hugo Adam Bedau, ed., Civil Disobedience: Theory and Practice, pp. 240–55. New York: Pegasus Books, 1969.
"Justice as Reciprocity." In Samuel Gorovitz, ed., Utilitarianism: John Stuart Mill: With Critical Essays, pp. 242–68. New York: Bobbs-Merrill, 1971.
"Author's Note." In Thomas Schwartz, ed., Freedom and Authority: An Introduction to Social and Political Philosophy, p. 260. Encino & Belmont, California: Dickenson, 1973.
"Distributive Justice." In Edmund S. Phelps, ed., Economic Justice: Selected Readings, pp. 319–62. Penguin Modern Economics Readings. Harmondsworth & Baltimore: Penguin Books, 1973.
"Personal Communication, January 31, 1976." In Thomas Nagel's "The Justification of Equality." Critica (April 1978), 10 (28): 9n4.
"The Basic Liberties and Their Priority." In Sterling M. McMurrin, ed., The Tanner Lectures on Human Values, III (1982), pp. 1–87. Salt Lake City: University of Utah Press; Cambridge: Cambridge University Press, 1982.
"Social unity and primary goods" in
"Themes in Kant's Moral Philosophy." In Eckhart Forster, ed., Kant's Transcendental Deductions: The Three Critiques and the Opus postumum, pp. 81–113, 253–56. Stanford Series in Philosophy. Studies in Kant and German Idealism. Stanford, California: Stanford University Press, 1989.
Reviews
Review of Axel Hägerström's Inquiries into the Nature of Law and Morals (C.D. Broad, tr.). Mind (July 1955), 64 (255):421–22.
Review of Stephen Toulmin's An Examination of the Place of Reason in Ethics (1950). Philosophical Review (October 1951), 60 (4): 572–80.
Review of A. Vilhelm Lundstedt's Legal Thinking Revised. Cornell Law Quarterly (1959), 44: 169.
Review of Raymond Klibansky, ed., Philosophy in Mid-Century: A Survey. Philosophical Review (January 1961), 70 (1): 131–32.
Review of Richard B. Brandt, ed., Social Justice (1962). Philosophical Review (July 1965), 74(3): 406–09.
See also
Anarchy, State, and Utopia
List of American philosophers
List of liberal theorists
Philosophy of economics
A Theory of Justice: The Musical!
Notes
References
Freeman, S. (2007) Rawls (Routledge, Abingdon)
Freeman, Samuel (2009) "Original Position" (The Stanford Encyclopedia of Philosophy, Original Position)
Rawls, J. (1993/1996/2005) Political Liberalism (Columbia University Press, New York)
Rogers, B. (27.09.02) "Obituary: John Rawls" Obituary: John Rawls
Tampio, N. (2011) "A Defense of Political Constructivism" (Contemporary Political Theory, A defense of political constructivism)
Wenar, Leif (2008) "John Rawls" (The Stanford Encyclopedia of Philosophy, John Rawls)
External links
Audio recordings of Rawls' 1983 lecture course "Modern Political Philosophy"
Cambridge Rawls Lexicon
Internet Encyclopedia of Philosophy Entry on John Rawls by Henry S. Richardson
Internet Encyclopedia of Philosophy Entry on Political Constructivisim by Michael Buckley
Stanford Encyclopedia of Philosophy Entry on John Rawls by Leif Wenar
Stanford Encyclopedia of Philosophy Entry on Original Position by Fred D'Agostino
Stanford Encyclopedia of Philosophy Entry on Reflective Equilibrium by Norman Daniels
John Rawls on Google Scholar
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[
"Adalah () means justice and denotes the Justice of God. It is among the five Shia Principles of the Religion.\n\nShia Muslims believe that there is intrinsic good or evil in things, and that God commands them to do the good things and shun the evil. They believe that God acts according to a purpose or design, and human reason cannot comprehend this design or purpose in its entirety (though man must always strive to understand as much as he can).\n\nThe Sunni School of thought conversely subscribes to the view that nothing is good or evil per se, and that what God commanded people to do became good by virtue of his command, and what he forbade became evil.\n\nConcept\n\nMorteza Motahhari conceived the following meaning for justice: \nProportionality: consider a system with some components. For the protection of system's survival, resources should be divided proportionally between the members based on need.\nEquality: Justice means equality and denying all forms of discrimination. \nJustifying the rights of owner: In this view, justice is the division of resources in proportion to their potential.\n\nQuran\n\nIn Quran Adl and Qist are two words used to describe justice. Adl means a balanced approach to all things, including life. So if a person is Adil, he is balanced morally, behaviorally, and spiritually. Also, Qist is defined as the approach regulating the human-human or human-God relations.\n\nPrinciple of Shia Theology \n\nAdalah is one of the principles of the Theology of Twelvers. Allah is described by many attributes, but just Adalah is chosen as the overarching principle of Shia Twelvers' theology for the following reasons: \n\n1. Adalah is important because other attributes of God get their meaning from it. In other word Adalah has a wide meaning as putting everything in their right places, so being The Most Merciful or The Sustainer get their meaning from Adalah.\n\n2. Eschatology and Prophecy and Imamah as principles of the Shia Theology are closely related to Adalah.\n\n3. At the beginning of Islam there was a conflict regarding the meaning of justice. Therefore, the Shi'a put it in the principles of religion to emphasize justice.\n\n4. Adalah in human society is an important element of Social justice. Shia Muslim by selecting it as the principal try to achieve justice in their society.\n\nSee also\n Ancillaries of the Faith\n Justice in the Quran\n\nReferences\n\nShia theology",
"Children First, Offenders Second (CFOS) is a progressive and positive youth justice model that consists of eight principles. The model is structured to make a child the focus of any responses that are made, in view of their offending behavior.\n\nPrinciples\n Child-friendly and child-appropriate treatment\n Diversionary action - not punishment, justice, or welfare-based\n Prevention as inclusive\n Evidence-based partnership\n Kindness - not labels or stigma\n Systems management - not unprincipled net-widening\n Partnership with the state\n Placing responsibility with the adult and not the child\n\n\"Children First, Offenders Second\", also known as \"positive youth justice\", challenges what its authors view as outdated, punitive, stigmatizing and unethical models of youth justice. It focuses on the use of risk factor paradigms in risk-based youth justice.\n\nReferences\n\nSources\n \n \n \n\n \n\nCriminal justice"
] |
[
"John Rawls",
"Principles of justice",
"What is the Principles of justice?",
"The first of these is the Liberty Principle,"
] |
C_fbdc972b162d4afc9a73b6e6d63c5bb1_1
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What is the Liberty Principle?
| 2 |
What is John Rawls' Liberty Principle?
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John Rawls
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Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick). Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged. Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers. Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice". In this respect, he understood justice as fairness as a contribution to "ideal theory", the determination of "principles that characterize a well-ordered society under favorable circumstances". Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory". CANNOTANSWER
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establishes equal basic liberties for all citizens.
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John Bordley Rawls (; February 21, 1921 – November 24, 2002) was an American moral and political philosopher in the liberal tradition. Rawls received both the Schock Prize for Logic and Philosophy and the National Humanities Medal in 1999, the latter presented by President Bill Clinton, in recognition of how Rawls's work "revived the disciplines of political and ethical philosophy with his argument that a society in which the most fortunate help the least fortunate is not only a moral society but a logical one".
In 1990, Will Kymlicka wrote in his introduction to the field that "it is generally accepted that the recent rebirth of normative political philosophy began with the publication of John Rawls's A Theory of Justice in 1971". Rawls has often been described as one of the most influential political philosophers of the 20th century. He has the unusual distinction among contemporary political philosophers of being frequently cited by the courts of law in the United States and Canada and referred to by practising politicians in the United States and the United Kingdom. In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years".
Rawls's theory of "justice as fairness" recommends equal basic liberties, equality of opportunity, and facilitating the maximum benefit to the least advantaged members of society in any case where inequalities may occur. Rawls's argument for these principles of social justice uses a thought experiment called the "original position", in which people deliberately select what kind of society they would choose to live in if they did not know which social position they would personally occupy. In his later work Political Liberalism (1993), Rawls turned to the question of how political power could be made legitimate given reasonable disagreement about the nature of the good life.
Biography
Early life
Rawls was born in Baltimore, Maryland. He was the second of five sons born to William Lee Rawls, a prominent Baltimore attorney, and Anna Abell Stump Rawls. Tragedy struck Rawls at a young age:
Two of his brothers died in childhood because they had contracted fatal illnesses from him. ... In 1928, the seven-year-old Rawls contracted diphtheria. His brother Bobby, younger by 20 months, visited him in his room and was fatally infected. The next winter, Rawls contracted pneumonia. Another younger brother, Tommy, caught the illness from him and died.
Rawls's biographer Thomas Pogge calls the loss of the brothers the "most important events in John's childhood."
Rawls graduated from the Calvert School in Baltimore before enrolling in the Kent School, an Episcopalian preparatory school in Connecticut. Upon graduation in 1939, Rawls attended Princeton University, where he was accepted into The Ivy Club and the American Whig-Cliosophic Society. At Princeton, Rawls was influenced by Norman Malcolm, Ludwig Wittgenstein's student. During his last two years at Princeton, he "became deeply concerned with theology and its doctrines." He considered attending a seminary to study for the Episcopal priesthood and wrote an "intensely religious senior thesis (BI)." In his 181-page long thesis titled "Meaning of Sin and Faith," Rawls attacked Pelagianism because it "would render the Cross of Christ to no effect." His argument was partly drawn from Karl Marx's book On the Jewish Question, which criticized the idea that natural inequality in ability could be a just determiner of the distribution of wealth in society. Even after Rawls became an atheist, many of the anti-Pelagian arguments he used were repeated in A Theory of Justice. Rawls graduated from Princeton in 1943 with a Bachelor of Arts summa cum laude.
Military service, 1943–46
Rawls enlisted in the U.S. Army in February 1943. During World War II, Rawls served as an infantryman in the Pacific, where he served a tour of duty in New Guinea and was awarded a Bronze Star; and the Philippines, where he endured intensive trench warfare and witnessed traumatizing scenes of violence and bloodshed. It was there that he lost his Christian faith and became an atheist.
Following the surrender of Japan, Rawls became part of General MacArthur's occupying army and was promoted to sergeant. But he became disillusioned with the military when he saw the aftermath of the atomic blast in Hiroshima. Rawls then disobeyed an order to discipline a fellow soldier, "believing no punishment was justified," and was "demoted back to a private." Disenchanted, he left the military in January 1946.
Academic career
In early 1946, Rawls returned to Princeton to pursue a doctorate in moral philosophy. He married Margaret Warfield Fox, a Brown University graduate, in 1949. They had four children, Anne Warfield, Robert Lee, Alexander Emory, and Elizabeth Fox.
Rawls received his Ph.D. from Princeton in 1950 after completing a doctoral dissertation titled A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Rawls taught there until 1952 when he received a Fulbright Fellowship to Oxford University (Christ Church), where he was influenced by the liberal political theorist and historian Isaiah Berlin and the legal theorist H. L. A. Hart. After returning to the United States he served first as an assistant and then associate professor at Cornell University. In 1962, he became a full professor of philosophy at Cornell, and soon achieved a tenured position at MIT. That same year, he moved to Harvard University, where he taught for almost forty years and where he trained some of the leading contemporary figures in moral and political philosophy, including Sibyl-A-Schwarzenbach, Thomas Nagel, Allan Gibbard, Onora O'Neill, Adrian Piper, Arnold Davidson, Elizabeth S. Anderson, Christine Korsgaard, Susan Neiman, Claudia Card, Rainer Forst, Thomas Pogge, T. M. Scanlon, Barbara Herman, Joshua Cohen, Thomas E. Hill Jr., Gurcharan Das, Andreas Teuber, Samuel Freeman and Paul Weithman. He held the James Bryant Conant University Professorship at Harvard.
Later life
Rawls seldom gave interviews and, having both a stutter (partially caused by the deaths of two of his brothers, who died through infections contracted from Rawls) and a "bat-like horror of the limelight," did not become a public intellectual despite his fame. He instead remained committed mainly to his academic and family life.
In 1995, he suffered the first of several strokes, severely impeding his ability to continue to work. He was nevertheless able to complete The Law of Peoples, the most complete statement of his views on international justice, and published in 2001 shortly before his death Justice As Fairness: A Restatement, a response to criticisms of A Theory of Justice. Rawls died on November 24, 2002, at age 81, and was buried at the Mount Auburn Cemetery in Massachusetts. He was survived by his wife, Mard Rawls, and their four children, and four grandchildren.
Philosophical thought
Rawls published three main books. The first, A Theory of Justice, focused on distributive justice and attempted to reconcile the competing claims of the values of freedom and equality. The second, Political Liberalism, addressed the question of how citizens divided by intractable religious and philosophical disagreements could come to endorse a constitutional democratic regime. The third, The Law of Peoples, focused on the issue of global justice.
A Theory of Justice
A Theory of Justice, published in 1971, aimed to resolve the seemingly competing claims of freedom and equality. The shape Rawls's resolution took, however, was not that of a balancing act that compromised or weakened the moral claim of one value compared with the other. Rather, his intent was to show that notions of freedom and equality could be integrated into a seamless unity he called justice as fairness. By attempting to enhance the perspective which his readers should take when thinking about justice, Rawls hoped to show the supposed conflict between freedom and equality to be illusory.
Rawls's A Theory of Justice (1971) includes a thought experiment he called the "original position." The intuition motivating its employment is this: the enterprise of political philosophy will be greatly benefited by a specification of the correct standpoint a person should take in his or her thinking about justice. When we think about what it would mean for a just state of affairs to obtain between persons, we eliminate certain features (such as hair or eye color, height, race, etc.) and fixate upon others. Rawls's original position is meant to encode all of our intuitions about which features are relevant, and which irrelevant, for the purposes of deliberating well about justice.
The original position is Rawls' hypothetical scenario in which a group of persons is set the task of reaching an agreement about the kind of political and economic structure they want for a society, which they will then occupy. Each individual, however, deliberates behind a "veil of ignorance": each lacks knowledge, for example, of his or her gender, race, age, intelligence, wealth, skills, education and religion. The only thing that a given member knows about themselves is that they are in possession of the basic capacities necessary to fully and wilfully participate in an enduring system of mutual cooperation; each knows they can be a member of the society.
Rawls posits two basic capacities that the individuals would know themselves to possess. First, individuals know that they have the capacity to form, pursue and revise a conception of the good, or life plan. Exactly what sort of conception of the good this is, however, the individual does not yet know. It may be, for example, religious or secular, but at the start, the individual in the original position does not know which. Second, each individual understands him or herself to have the capacity to develop a sense of justice and a generally effective desire to abide by it. Knowing only these two features of themselves, the group will deliberate in order to design a social structure, during which each person will seek his or her maximal advantage. The idea is that proposals that we would ordinarily think of as unjust – such as that black people or women should not be allowed to hold public office – will not be proposed, in this, Rawls' original position, because it would be irrational to propose them. The reason is simple: one does not know whether he himself would be a woman or a black person. This position is expressed in the difference principle, according to which, in a system of ignorance about one's status, one would strive to improve the position of the worst off, because he might find himself in that position.
Rawls develops his original position by modelling it, in certain respects at least, after the "initial situations" of various social contract thinkers who came before him, including Thomas Hobbes, John Locke and Jean-Jacques Rousseau. Each social contractarian constructs his/her initial situation somewhat differently, having in mind a unique political morality s/he intends the thought experiment to generate. Iain King has suggested the original position draws on Rawls' experiences in post-war Japan, where the US Army was challenged with designing new social and political authorities for the country, while "imagining away all that had gone before."
In social justice processes, each person early on makes decisions about which features of persons to consider and which to ignore. Rawls's aspiration is to have created a thought experiment whereby a version of that process is carried to its completion, illuminating the correct standpoint a person should take in his or her thinking about justice. If he has succeeded, then the original position thought experiment may function as a full specification of the moral standpoint we should attempt to achieve when deliberating about social justice.
In setting out his theory, Rawls described his method as one of "reflective equilibrium," a concept which has since been used in other areas of philosophy. Reflective equilibrium is achieved by mutually adjusting one's general principles and one's considered judgements on particular cases, to bring the two into line with one another.
Principles of justice
Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick).
Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged.
Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls’ theory of justice stakes out the task of equalizing the distribution of primary social goods to those least advantaged in society and thus may be seen as a largely political answer to the question of justice, with matters of morality somewhat conflated into a political account of justice and just institutions. Relational approaches to the question of justice, by contrast, seek to examine the connections between individuals and focuses on their relations in societies, with respect to how these relationships are established and configured.
Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers.
Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice." In this respect, he understood justice as fairness as a contribution to "ideal theory," the determination of "principles that characterize a well-ordered society under favorable circumstances." Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory."
Political Liberalism
In Political Liberalism (1993), Rawls turned towards the question of political legitimacy in the context of intractable philosophical, religious, and moral disagreement amongst citizens regarding the human good. Such disagreement, he insisted, was reasonable – the result of the free exercise of human rationality under the conditions of open enquiry and free conscience that the liberal state is designed to safeguard. The question of legitimacy in the face of reasonable disagreement was urgent for Rawls because his own justification of Justice as Fairness relied upon a Kantian conception of the human good that can be reasonably rejected. If the political conception offered in A Theory of Justice can only be shown to be good by invoking a controversial conception of human flourishing, it is unclear how a liberal state ordered according to it could possibly be legitimate.
The intuition animating this seemingly new concern is actually no different from the guiding idea of A Theory of Justice, namely that the fundamental charter of a society must rely only on principles, arguments and reasons that cannot be reasonably rejected by the citizens whose lives will be limited by its social, legal, and political circumscriptions. In other words, the legitimacy of a law is contingent upon its justification being impossible to reasonably reject. This old insight took on a new shape, however, when Rawls realized that its application must extend to the deep justification of Justice as Fairness itself, which he had presented in terms of a reasonably rejectable (Kantian) conception of human flourishing as the free development of autonomous moral agency.
The core of Political Liberalism, accordingly, is its insistence that, in order to retain its legitimacy, the liberal state must commit itself to the "ideal of public reason." This roughly means that citizens in their public capacity must engage one another only in terms of reasons whose status as reasons is shared between them. Political reasoning, then, is to proceed purely in terms of "public reasons." For example: a Supreme Court justice deliberating on whether or not the denial to homosexuals of the ability to marry constitutes a violation of the 14th Amendment's Equal Protection Clause may not advert to his religious convictions on the matter, but he may take into account the argument that a same-sex household provides sub-optimal conditions for a child's development. This is because reasons based upon the interpretation of sacred text are non-public (their force as reasons relies upon faith commitments that can be reasonably rejected), whereas reasons that rely upon the value of providing children with environments in which they may develop optimally are public reasons – their status as reasons draws upon no deep, controversial conception of human flourishing.
Rawls held that the duty of civility – the duty of citizens to offer one another reasons that are mutually understood as reasons – applies within what he called the "public political forum." This forum extends from the upper reaches of government – for example the supreme legislative and judicial bodies of the society – all the way down to the deliberations of a citizen deciding for whom to vote in state legislatures or how to vote in public referenda. Campaigning politicians should also, he believed, refrain from pandering to the non-public religious or moral convictions of their constituencies.
The ideal of public reason secures the dominance of the public political values – freedom, equality, and fairness – that serve as the foundation of the liberal state. But what about the justification of these values? Since any such justification would necessarily draw upon deep (religious or moral) metaphysical commitments which would be reasonably rejectable, Rawls held that the public political values may only be justified privately by individual citizens. The public liberal political conception and its attendant values may and will be affirmed publicly (in judicial opinions and presidential addresses, for example) but its deep justifications will not. The task of justification falls to what Rawls called the "reasonable comprehensive doctrines" and the citizens who subscribe to them. A reasonable Catholic will justify the liberal values one way, a reasonable Muslim another, and a reasonable secular citizen yet another way. One may illustrate Rawls's idea using a Venn diagram: the public political values will be the shared space upon which overlap numerous reasonable comprehensive doctrines. Rawls's account of stability presented in A Theory of Justice is a detailed portrait of the compatibility of one – Kantian – comprehensive doctrine with justice as fairness. His hope is that similar accounts may be presented for many other comprehensive doctrines. This is Rawls's famous notion of an "overlapping consensus."
Such a consensus would necessarily exclude some doctrines, namely, those that are "unreasonable," and so one may wonder what Rawls has to say about such doctrines. An unreasonable comprehensive doctrine is unreasonable in the sense that it is incompatible with the duty of civility. This is simply another way of saying that an unreasonable doctrine is incompatible with the fundamental political values a liberal theory of justice is designed to safeguard – freedom, equality and fairness. So one answer to the question of what Rawls has to say about such doctrines is – nothing. For one thing, the liberal state cannot justify itself to individuals (such as religious fundamentalists) who hold to such doctrines, because any such justification would – as has been noted – proceed in terms of controversial moral or religious commitments that are excluded from the public political forum. But, more importantly, the goal of the Rawlsian project is primarily to determine whether or not the liberal conception of political legitimacy is internally coherent, and this project is carried out by the specification of what sorts of reasons persons committed to liberal values are permitted to use in their dialogue, deliberations and arguments with one another about political matters. The Rawlsian project has this goal to the exclusion of concern with justifying liberal values to those not already committed – or at least open – to them. Rawls's concern is with whether or not the idea of political legitimacy fleshed out in terms of the duty of civility and mutual justification can serve as a viable form of public discourse in the face of the religious and moral pluralism of modern democratic society, not with justifying this conception of political legitimacy in the first place.
Rawls also modified the principles of justice as follows (with the first principle having priority over the second, and the first half of the second having priority over the latter half):
Each person has an equal claim to a fully adequate scheme of basic rights and liberties, which scheme is compatible with the same scheme for all; and in this scheme the equal political liberties, and only those liberties, are to be guaranteed their fair value.
Social and economic inequalities are to satisfy two conditions: first, they are to be attached to positions and offices open to all under conditions of fair equality of opportunity; and second, they are to be to the greatest benefit of the least advantaged members of society.
These principles are subtly modified from the principles in Theory. The first principle now reads "equal claim" instead of "equal right," and he also replaces the phrase "system of basic liberties" with "a fully adequate scheme of equal basic rights and liberties." The two parts of the second principle are also switched, so that the difference principle becomes the latter of the three.
The Law of Peoples
Although there were passing comments on international affairs in A Theory of Justice, it was not until late in his career that Rawls formulated a comprehensive theory of international politics with the publication of The Law of Peoples. He claimed there that "well-ordered" peoples could be either "liberal" or "decent." Rawls's basic distinction in international politics is that his preferred emphasis on a society of peoples is separate from the more conventional and historical discussion of international politics as based on relationships between states.
Rawls argued that the legitimacy of a liberal international order is contingent on tolerating decent peoples, which differ from liberal peoples, among other ways, in that they might have state religions and deny adherents of minority faiths the right to hold positions of power within the state, and might organize political participation via consultation hierarchies rather than elections. However, no well-ordered peoples may violate human rights or behave in an externally aggressive manner. Peoples that fail to meet the criteria of "liberal" or "decent" peoples are referred to as 'outlaw states,' 'societies burdened by unfavourable conditions' or "benevolent absolutisms' depending on their particular failings. Such peoples do not have the right to mutual respect and toleration possessed by liberal and decent peoples.
Rawls's views on global distributive justice as they were expressed in this work surprised many of his fellow egalitarian liberals. For example, Charles Beitz had previously written a study that argued for the application of Rawls's Difference Principles globally. Rawls denied that his principles should be so applied, partly on the grounds that a world state does not exist and would not be stable. This notion has been challenged, as a comprehensive system of global governance has arisen, amongst others in the form of the Bretton Woods system, that serves to distribute primary social goods between human beings. It has thus been argued that a cosmopolitan application of the theory of justice as fairness is the more reasonable alternative to the application of The Law of Peoples, as it would be more legitimate towards all persons over whom political coercive power is exercised.
According to Rawls however, nation states, unlike citizens, were self-sufficient in the cooperative enterprises that constitute domestic societies. Although Rawls recognized that aid should be given to governments which are unable to protect human rights for economic reasons, he claimed that the purpose for this aid is not to achieve an eventual state of global equality, but rather only to ensure that these societies could maintain liberal or decent political institutions. He argued, among other things, that continuing to give aid indefinitely would see nations with industrious populations subsidize those with idle populations and would create a moral hazard problem where governments could spend irresponsibly in the knowledge that they will be bailed out by those nations who had spent responsibly.
Rawls's discussion of "non-ideal" theory, on the other hand, included a condemnation of bombing civilians and of the American bombing of German and Japanese cities in World War II, as well as discussions of immigration and nuclear proliferation. He also detailed here the ideal of the statesman, a political leader who looks to the next generation and promotes international harmony, even in the face of significant domestic pressure to act otherwise. Rawls also controversially claimed that violations of human rights can legitimize military intervention in the violating states, though he also expressed the hope that such societies could be induced to reform peacefully by the good example of liberal and decent peoples.
Influence and reception
Despite the exacting, academic tone of Rawls' writing and his reclusive personality, his philosophical work has exerted an enormous impact on not only contemporary moral and political philosophy but also public political discourse. During the student protests at Tiananmen Square in 1989, copies of "A Theory of Justice" were brandished by protesters in the face of government officials. Despite being approximately 600 pages long, over 300,000 copies of that book have been sold, stimulating critical responses from utilitarian, feminist, conservative, libertarian, Catholic, communitarian, Marxist and Green scholars, which Rawls welcomed.
Although having a profound influence on theories of distributive justice both in theory and in practice, the generally anti-meritocratic sentiment of Rawls' thinking has not been widely accepted by the political left. He consistently held the view that naturally developed skills and endowments could not be neatly distinguished from inherited ones, and that neither could be used to justify moral desert. Instead, he held the view that individuals could "legitimately expect" entitlements to the earning of income or development of abilities based on institutional arrangements. This aspect of Rawls' work has been instrumental in the development of such ideas as luck egalitarianism and unconditional basic income, which have themselves been criticized. The strictly egalitarian quality of Rawls' second principle of justice has called into question the type of equality that fair societies ought to embody.
The Communitarian Critique
Charles Taylor, Alasdair Macintyre, Michael Sandel, and Michael Walzer all have posed formidable oppositions to Rawls' theory of justice throughout their careers, stimulating a large reactionary body of normative and critical scholarship.
The September Group
The late philosopher G.A. Cohen, along with political scientist Jon Elster, and John Roemer used Rawls' writings extensively to inaugurate the Analytical Marxism movement in the 1980s.
The Frankfurt School
In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years", just ahead of Jürgen Habermas, whose scholarly work he engaged with during the later part of his career (see Habermas-Rawls debate), and Michel Foucault. Habermas' reading of Rawls lead to an appreciation of Rawls' work and other analytical philosophers by the esteemed Frankfurt School of critical theory, and many of Habermas' own students and associates were expected to be familiar with Rawls by the late 1980s. Rainer Forst, who was described in 2012 as the "most important political philosopher of his generation" was advised both by Rawls and Habermas in completing his PhD. Axel Honneth, Fabian Freyenhagen, and James Gordon Finlayson have also drawn on Rawls' work in comparison to Habermas.
Feminist political philosophy
Philosopher Eva Kittay has extended the work of John Rawls to address the concerns of women and the cognitively disabled.
Awards and honors
Bronze Star for radio work behind enemy lines in World War II.
Ralph Waldo Emerson Award (1972)
Member of the Norwegian Academy of Science and Letters (1992)
Schock Prize for Logic and Philosophy (1999)
National Humanities Medal (1999)
Asteroid 16561 Rawls is named in his honor.
Musical
John Rawls is featured as the protagonist of A Theory of Justice: The Musical!, an award-nominated musical comedy, which premiered at Oxford in 2013 and was revived for the Edinburgh Fringe Festival.
Publications
Bibliography
A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Ph.D. dissertation, Princeton University, 1950.
A Theory of Justice. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1971. The revised edition of 1999 incorporates changes that Rawls made for translated editions of A Theory of Justice. Some Rawls scholars use the abbreviation TJ to refer to this work.
Political Liberalism. The John Dewey Essays in Philosophy, 4. New York: Columbia University Press, 1993. The hardback edition published in 1993 is not identical. The paperback adds a valuable new introduction and an essay titled "Reply to Habermas." Some Rawls scholars use the abbreviation PL to refer to this work.
The Law of Peoples: with "The Idea of Public Reason Revisited." Cambridge, Massachusetts: Harvard University Press, 1999. This slim book includes two works; a further development of his essay entitled "The Law of Peoples" and another entitled "Public Reason Revisited," both published earlier in his career.
Collected Papers. Cambridge, Massachusetts: Harvard University Press, 1999. This collection of shorter papers was edited by Samuel Freeman.
Lectures on the History of Moral Philosophy. Cambridge, Massachusetts, Harvard University Press, 2000. This collection of lectures was edited by Barbara Herman. It has an introduction on modern moral philosophy from 1600 to 1800 and then lectures on Hume, Leibniz, Kant and Hegel.
Justice as Fairness: A Restatement. Cambridge, Massachusetts: Belknap Press, 2001. This shorter summary of the main arguments of Rawls's political philosophy was edited by Erin Kelly. Many versions of this were circulated in typescript and much of the material was delivered by Rawls in lectures when he taught courses covering his own work at Harvard University.
Lectures on the History of Political Philosophy. Cambridge, Massachusetts: Harvard University Press, 2007. Collection of lectures on Thomas Hobbes, John Locke, Joseph Butler, Jean-Jacques Rousseau, David Hume, John Stuart Mill and Karl Marx, edited by Samuel Freeman.
A Brief Inquiry into the Meaning of Sin and Faith. Cambridge, Massachusetts, Harvard University Press, 2010. With introduction and commentary by Thomas Nagel, Joshua Cohen and Robert Merrihew Adams. Senior thesis, Princeton, 1942. This volume includes a brief late essay by Rawls entitled On My Religion.
Articles
"Outline of a Decision Procedure for Ethics." Philosophical Review (April 1951), 60 (2): 177–97.
"Two Concepts of Rules." Philosophical Review (January 1955), 64 (1):3–32.
"Justice as Fairness." Journal of Philosophy (October 24, 1957), 54 (22): 653–62.
"Justice as Fairness." Philosophical Review (April 1958), 67 (2): 164–94.
"The Sense of Justice." Philosophical Review (July 1963), 72 (3): 281–305.
"Constitutional Liberty and the Concept of Justice" Nomos VI (1963)
"Distributive Justice: Some Addenda." Natural Law Forum (1968), 13: 51–71.
"Reply to Lyons and Teitelman." Journal of Philosophy (October 5, 1972), 69 (18): 556–57.
"Reply to Alexander and Musgrave." Quarterly Journal of Economics (November 1974), 88 (4): 633–55.
"Some Reasons for the Maximin Criterion." American Economic Review (May 1974), 64 (2): 141–46.
"Fairness to Goodness." Philosophical Review (October 1975), 84 (4): 536–54.
"The Independence of Moral Theory." Proceedings and Addresses of the American Philosophical Association (November 1975), 48: 5–22.
"A Kantian Conception of Equality." Cambridge Review (February 1975), 96 (2225): 94–99.
"The Basic Structure as Subject." American Philosophical Quarterly (April 1977), 14 (2): 159–65.
"Kantian Constructivism in Moral Theory." Journal of Philosophy (September 1980), 77 (9): 515–72.
"Justice as Fairness: Political not Metaphysical." Philosophy & Public Affairs (Summer 1985), 14 (3): 223–51.
"The Idea of an Overlapping Consensus." Oxford Journal for Legal Studies (Spring 1987), 7 (1): 1–25.
"The Priority of Right and Ideas of the Good." Philosophy & Public Affairs (Fall 1988), 17 (4): 251–76.
"The Domain of the Political and Overlapping Consensus." New York University Law Review (May 1989), 64 (2): 233–55.
"Roderick Firth: His Life and Work." Philosophy and Phenomenological Research (March 1991), 51 (1): 109–18.
"The Law of Peoples." Critical Inquiry (Fall 1993), 20 (1): 36–68.
"Political Liberalism: Reply to Habermas." Journal of Philosophy (March 1995), 92 (3):132–80.
"The Idea of Public Reason Revisited." Chicago Law Review (1997), 64 (3): 765–807. [PRR]
Book chapters
"Constitutional Liberty and the Concept of Justice." In Carl J. Friedrich and John W. Chapman, eds., Nomos, VI: Justice, pp. 98–125. Yearbook of the American Society for Political and Legal Philosophy. New York: Atherton Press, 1963.
"Legal Obligation and the Duty of Fair Play." In Sidney Hook, ed., Law and Philosophy: A Symposium, pp. 3–18. New York: New York University Press, 1964. Proceedings of the 6th Annual New York University Institute of Philosophy.
"Distributive Justice." In Peter Laslett and W. G. Runciman, eds., Philosophy, Politics, and Society. Third Series, pp. 58–82. London: Blackwell; New York: Barnes & Noble, 1967.
"The Justification of Civil Disobedience." In Hugo Adam Bedau, ed., Civil Disobedience: Theory and Practice, pp. 240–55. New York: Pegasus Books, 1969.
"Justice as Reciprocity." In Samuel Gorovitz, ed., Utilitarianism: John Stuart Mill: With Critical Essays, pp. 242–68. New York: Bobbs-Merrill, 1971.
"Author's Note." In Thomas Schwartz, ed., Freedom and Authority: An Introduction to Social and Political Philosophy, p. 260. Encino & Belmont, California: Dickenson, 1973.
"Distributive Justice." In Edmund S. Phelps, ed., Economic Justice: Selected Readings, pp. 319–62. Penguin Modern Economics Readings. Harmondsworth & Baltimore: Penguin Books, 1973.
"Personal Communication, January 31, 1976." In Thomas Nagel's "The Justification of Equality." Critica (April 1978), 10 (28): 9n4.
"The Basic Liberties and Their Priority." In Sterling M. McMurrin, ed., The Tanner Lectures on Human Values, III (1982), pp. 1–87. Salt Lake City: University of Utah Press; Cambridge: Cambridge University Press, 1982.
"Social unity and primary goods" in
"Themes in Kant's Moral Philosophy." In Eckhart Forster, ed., Kant's Transcendental Deductions: The Three Critiques and the Opus postumum, pp. 81–113, 253–56. Stanford Series in Philosophy. Studies in Kant and German Idealism. Stanford, California: Stanford University Press, 1989.
Reviews
Review of Axel Hägerström's Inquiries into the Nature of Law and Morals (C.D. Broad, tr.). Mind (July 1955), 64 (255):421–22.
Review of Stephen Toulmin's An Examination of the Place of Reason in Ethics (1950). Philosophical Review (October 1951), 60 (4): 572–80.
Review of A. Vilhelm Lundstedt's Legal Thinking Revised. Cornell Law Quarterly (1959), 44: 169.
Review of Raymond Klibansky, ed., Philosophy in Mid-Century: A Survey. Philosophical Review (January 1961), 70 (1): 131–32.
Review of Richard B. Brandt, ed., Social Justice (1962). Philosophical Review (July 1965), 74(3): 406–09.
See also
Anarchy, State, and Utopia
List of American philosophers
List of liberal theorists
Philosophy of economics
A Theory of Justice: The Musical!
Notes
References
Freeman, S. (2007) Rawls (Routledge, Abingdon)
Freeman, Samuel (2009) "Original Position" (The Stanford Encyclopedia of Philosophy, Original Position)
Rawls, J. (1993/1996/2005) Political Liberalism (Columbia University Press, New York)
Rogers, B. (27.09.02) "Obituary: John Rawls" Obituary: John Rawls
Tampio, N. (2011) "A Defense of Political Constructivism" (Contemporary Political Theory, A defense of political constructivism)
Wenar, Leif (2008) "John Rawls" (The Stanford Encyclopedia of Philosophy, John Rawls)
External links
Audio recordings of Rawls' 1983 lecture course "Modern Political Philosophy"
Cambridge Rawls Lexicon
Internet Encyclopedia of Philosophy Entry on John Rawls by Henry S. Richardson
Internet Encyclopedia of Philosophy Entry on Political Constructivisim by Michael Buckley
Stanford Encyclopedia of Philosophy Entry on John Rawls by Leif Wenar
Stanford Encyclopedia of Philosophy Entry on Original Position by Fred D'Agostino
Stanford Encyclopedia of Philosophy Entry on Reflective Equilibrium by Norman Daniels
John Rawls on Google Scholar
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| true |
[
"The harm principle holds that the actions of individuals should only be limited to prevent harm to other individuals. John Stuart Mill articulated this principle in On Liberty, where he argued that \"The only purpose for which power can be rightfully exercised over any member of a civilized community, against his will, is to prevent harm to others.\" An equivalent was earlier stated in France's Declaration of the Rights of Man and of the Citizen of 1789 as, \"Liberty consists in the freedom to do everything which injures no one else; hence the exercise of the natural rights of each man has no limits except those which assure to the other members of the society the enjoyment of the same rights. These limits can only be determined by law.\"\n\nDefinition \nThe belief \"that no one should be forcibly prevented from acting in any way he chooses provided his acts are not invasive of the free acts of others\" has become one of the basic principles of libertarian politics.\n\nThe harm principle was first fully articulated by the English philosopher John Stuart Mill [JSM] (1806–1873) in the first chapter of On Liberty (1859), where he argued that:\n\nEven if a self-regarding action results in harm to oneself, it is still beyond the sphere of justifiable state coercion.\n\nHarm itself is not a non-moral concept. The infliction of harm upon another person is what makes an action wrong.\n\nHarm can also result from a failure to meet an obligation. Morality generates obligations. Duty may be exacted from a person in the same way as a debt, and it is part of the notion of duty that a person may be rightfully compelled to fulfill it.\n\nBroader definitions of harm \n\nIn the same essay, Mill further explains the principle as a function of two maxims:\n\nThe second of these maxims has become known as the social authority principle.\n\nHowever, the second maxim also opens the question of broader definitions of harm, up to and including harm to the society. The concept of harm is not limited to harm to another individual but can be harm to individuals plurally, without specific definition of those individuals.\n\nThis is an important principle for the purpose of determining harm that only manifests gradually over time—such that the resulting harm can be anticipated, but does not yet exist at the time that the action causing harm was taken. It also applies to other issues—which range from the right of an entity to discharge broadly polluting waste on private property, to broad questions of licensing, and to the right of sedition.\n\nModern examples\n\nIn US libertarianism \n\nThe United States Libertarian Party includes a version of the harm principle as part of its official party platform. It states:\n\nCritique of Harm Principle \nScholars have argued that the harm principle doesn't provide a narrow scope of which actions count as harmful towards oneself or the population and it cannot be used to determine whether people can be punished for their actions by the state. A state can determine whether an action is punishable by determining what harm the action causes. If a morally unjust action occurs but leaves no indisputable form of harm, there is no justification for the state to act and punish the perpetrator for their actions. The harm principle has an ambiguous definition of what harm specifically is and what justifies a state to intervene.\n\nScholars have also said that the harm principle does not specify on whether the state is justified with intervention tactics. This ambiguity can lead to a state defining what counts as a harmful self-regarding action at their own discretion. This freedom might allow for an individual's own liberty and rights to be in danger. It would not be plausible for a state to intervene with an action that will negatively affect the population more than an individual. The harm principle scope of usage has been described as too wide to directly follow and implement possible punishment by a state.\n\nSee also\nAhimsa\nClassical liberalism\nPrimum non nocere - \"first, to do no harm.\"\nLaw of equal liberty\nLibertarianism\nNon-aggression principle\nWiccan Rede\n\nReferences\n\nBibliography\n\nExternal links\nBaselines, at Legal Theory Blog.\n\nClassical liberalism\nEthical principles\n1859 introductions\nJohn Stuart Mill",
"\"Justice as Fairness: Political not Metaphysical\" is an essay by John Rawls, published in 1985. In it he describes his conception of justice. It comprises two main principles of liberty and equality; the second is subdivided into Fair Equality of Opportunity and the Difference Principle.\n\nRawls arranges the principles in 'lexical priority', prioritising in the order of the Liberty Principle, Fair Equality of Opportunity and the Difference Principle. This order determines the priorities of the principles if they conflict in practice. The principles are, however, intended as a single, comprehensive conception of justice—'Justice as Fairness'—and not to function individually. These principles are always applied so as to ensure that the \"least advantaged\" are benefitted and not hurt or forgotten.\n\nRawls originally presented the theory in his 1971 book A Theory of Justice, subsequently expanding upon several of its themes in his later book titled Political Liberalism.\n\nFirst principle: the liberty principle\nThe first and most important principle is that everyone has the same rights as fundamental freedoms. Rawls argued that \"certain rights and freedoms are more important or fundamental \"than others.\" For example, Samuel Freeman argues, Rawls believes that \"personal property\"—personal belongings, a home—constitutes a basic liberty, but an absolute right to unlimited private property is not. As a fundamental freedom, these rights are inviolable. The government must not alter, violate or remove such rights from individuals. Thomas Mertens says Rawls believes that the principles of society are chosen by representative citizens on \"fair\" terms.\n\nRawls articulates the Liberty Principle as the most extensive basic liberty compatible with similar liberty for others in A Theory of Justice; he later amended this in Political Liberalism, stating instead that \"each person has an equal claim to a fully adequate scheme of equal basic rights and liberties\".\n\nSecond principle: the equality principle\nThe principle is part of justice that established distributive justice. Rawls awards the Fair Equality of Opportunity Principle lexical priority over the Difference Principle: Society cannot adjust inequality to maximize the proportion of those who are most vulnerable without providing positions and the opportunities that are necessary for the worse-off to achieve them.\n\nFair equality of opportunity\nThis principle maintains that \"offices and positions\" have to open to all, regardless of their social background, caste or gender. This principle is stronger than the 'Formal Equality of Opportunity'. Rawls argues that human potential should not only be a 'right', but also an 'effective' equal opportunity.\n\nDifference principle\nThe Difference Principle regulates inequalities: it permits only inequalities that work to the advantage of the worst-off. This is often misinterpreted as trickle-down economics; Rawls' argument is more accurately expressed as a system where wealth \"diffuses up\". By guaranteeing the worst-off in society a fair deal, Rawls compensates for naturally occurring inequalities (talents that one is born with, such as a capacity for sport).\n\nRawls justifies the Difference Principle on the basis that, since Fair Equality of Opportunity has lexical priority, the Just choice from Pareto optimal scenarios which could occur would be that benefiting the worst-off rather than the best-off.\n\nOriginal position\n\nA key component of Rawls' argument is his claim that his Principles of Justice would be chosen by parties in the original position. This is a thought experiment in which the parties select principles that will determine the basic structure of the society they will live in. This choice is made from behind a veil of ignorance, which would deprive participants of information about their particular characteristics: his or her ethnicity, social status, gender and, crucially, their conception of the good. This forces participants to select principles impartially and rationally.\n\nSee also\nJustice as Fairness: A Restatement\n\nNotes\n\nReferences\n Avineri, S. and de-Shalit, A. (ed.) (1992) Communitarianism and Individualism (Oxford University Press)\n Freeman, S. (2007) Rawls (Routledge, Abingdon)\n Freeman, S. (2009) \"Original Position\" (The Stanford Encyclopedia of Philosophy, http://plato.stanford.edu/archives/spr2009/entries/original-position)\n Rawls, J. () Political Liberalism (Columbia University Press, New York)\n Rawls, J. () A Theory of Justice (Harvard University Press, Cambridge MA)\n Wenar, Leif (2008) \"John Rawls\" (The Stanford Encyclopedia of Philosophy, http://plato.stanford.edu/archives/fall2008/entries/rawls/)\n\n1985 essays\nBooks in political philosophy\nConcepts in ethics\nConcepts in political philosophy\nConcepts in social philosophy\nContemporary philosophical literature\nEgalitarianism\nEthics\nEthics books\nHistory of ethics\nHistory of philosophy\nIntellectual history\nJohn Rawls\nJustice\nPhilosophical concepts\nPhilosophical theories\nPhilosophy essays\nPublic sphere\nSocial justice\nSocial philosophy literature\nSociology essays\nTheories\nTheories of law\nValue (ethics)\nVirtue"
] |
[
"John Rawls",
"Principles of justice",
"What is the Principles of justice?",
"The first of these is the Liberty Principle,",
"What is the Liberty Principle?",
"establishes equal basic liberties for all citizens."
] |
C_fbdc972b162d4afc9a73b6e6d63c5bb1_1
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What is another principle?
| 3 |
What is another of John Rawls' principles other than the Liberty principle?
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John Rawls
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Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick). Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged. Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers. Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice". In this respect, he understood justice as fairness as a contribution to "ideal theory", the determination of "principles that characterize a well-ordered society under favorable circumstances". Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory". CANNOTANSWER
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a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle.
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John Bordley Rawls (; February 21, 1921 – November 24, 2002) was an American moral and political philosopher in the liberal tradition. Rawls received both the Schock Prize for Logic and Philosophy and the National Humanities Medal in 1999, the latter presented by President Bill Clinton, in recognition of how Rawls's work "revived the disciplines of political and ethical philosophy with his argument that a society in which the most fortunate help the least fortunate is not only a moral society but a logical one".
In 1990, Will Kymlicka wrote in his introduction to the field that "it is generally accepted that the recent rebirth of normative political philosophy began with the publication of John Rawls's A Theory of Justice in 1971". Rawls has often been described as one of the most influential political philosophers of the 20th century. He has the unusual distinction among contemporary political philosophers of being frequently cited by the courts of law in the United States and Canada and referred to by practising politicians in the United States and the United Kingdom. In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years".
Rawls's theory of "justice as fairness" recommends equal basic liberties, equality of opportunity, and facilitating the maximum benefit to the least advantaged members of society in any case where inequalities may occur. Rawls's argument for these principles of social justice uses a thought experiment called the "original position", in which people deliberately select what kind of society they would choose to live in if they did not know which social position they would personally occupy. In his later work Political Liberalism (1993), Rawls turned to the question of how political power could be made legitimate given reasonable disagreement about the nature of the good life.
Biography
Early life
Rawls was born in Baltimore, Maryland. He was the second of five sons born to William Lee Rawls, a prominent Baltimore attorney, and Anna Abell Stump Rawls. Tragedy struck Rawls at a young age:
Two of his brothers died in childhood because they had contracted fatal illnesses from him. ... In 1928, the seven-year-old Rawls contracted diphtheria. His brother Bobby, younger by 20 months, visited him in his room and was fatally infected. The next winter, Rawls contracted pneumonia. Another younger brother, Tommy, caught the illness from him and died.
Rawls's biographer Thomas Pogge calls the loss of the brothers the "most important events in John's childhood."
Rawls graduated from the Calvert School in Baltimore before enrolling in the Kent School, an Episcopalian preparatory school in Connecticut. Upon graduation in 1939, Rawls attended Princeton University, where he was accepted into The Ivy Club and the American Whig-Cliosophic Society. At Princeton, Rawls was influenced by Norman Malcolm, Ludwig Wittgenstein's student. During his last two years at Princeton, he "became deeply concerned with theology and its doctrines." He considered attending a seminary to study for the Episcopal priesthood and wrote an "intensely religious senior thesis (BI)." In his 181-page long thesis titled "Meaning of Sin and Faith," Rawls attacked Pelagianism because it "would render the Cross of Christ to no effect." His argument was partly drawn from Karl Marx's book On the Jewish Question, which criticized the idea that natural inequality in ability could be a just determiner of the distribution of wealth in society. Even after Rawls became an atheist, many of the anti-Pelagian arguments he used were repeated in A Theory of Justice. Rawls graduated from Princeton in 1943 with a Bachelor of Arts summa cum laude.
Military service, 1943–46
Rawls enlisted in the U.S. Army in February 1943. During World War II, Rawls served as an infantryman in the Pacific, where he served a tour of duty in New Guinea and was awarded a Bronze Star; and the Philippines, where he endured intensive trench warfare and witnessed traumatizing scenes of violence and bloodshed. It was there that he lost his Christian faith and became an atheist.
Following the surrender of Japan, Rawls became part of General MacArthur's occupying army and was promoted to sergeant. But he became disillusioned with the military when he saw the aftermath of the atomic blast in Hiroshima. Rawls then disobeyed an order to discipline a fellow soldier, "believing no punishment was justified," and was "demoted back to a private." Disenchanted, he left the military in January 1946.
Academic career
In early 1946, Rawls returned to Princeton to pursue a doctorate in moral philosophy. He married Margaret Warfield Fox, a Brown University graduate, in 1949. They had four children, Anne Warfield, Robert Lee, Alexander Emory, and Elizabeth Fox.
Rawls received his Ph.D. from Princeton in 1950 after completing a doctoral dissertation titled A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Rawls taught there until 1952 when he received a Fulbright Fellowship to Oxford University (Christ Church), where he was influenced by the liberal political theorist and historian Isaiah Berlin and the legal theorist H. L. A. Hart. After returning to the United States he served first as an assistant and then associate professor at Cornell University. In 1962, he became a full professor of philosophy at Cornell, and soon achieved a tenured position at MIT. That same year, he moved to Harvard University, where he taught for almost forty years and where he trained some of the leading contemporary figures in moral and political philosophy, including Sibyl-A-Schwarzenbach, Thomas Nagel, Allan Gibbard, Onora O'Neill, Adrian Piper, Arnold Davidson, Elizabeth S. Anderson, Christine Korsgaard, Susan Neiman, Claudia Card, Rainer Forst, Thomas Pogge, T. M. Scanlon, Barbara Herman, Joshua Cohen, Thomas E. Hill Jr., Gurcharan Das, Andreas Teuber, Samuel Freeman and Paul Weithman. He held the James Bryant Conant University Professorship at Harvard.
Later life
Rawls seldom gave interviews and, having both a stutter (partially caused by the deaths of two of his brothers, who died through infections contracted from Rawls) and a "bat-like horror of the limelight," did not become a public intellectual despite his fame. He instead remained committed mainly to his academic and family life.
In 1995, he suffered the first of several strokes, severely impeding his ability to continue to work. He was nevertheless able to complete The Law of Peoples, the most complete statement of his views on international justice, and published in 2001 shortly before his death Justice As Fairness: A Restatement, a response to criticisms of A Theory of Justice. Rawls died on November 24, 2002, at age 81, and was buried at the Mount Auburn Cemetery in Massachusetts. He was survived by his wife, Mard Rawls, and their four children, and four grandchildren.
Philosophical thought
Rawls published three main books. The first, A Theory of Justice, focused on distributive justice and attempted to reconcile the competing claims of the values of freedom and equality. The second, Political Liberalism, addressed the question of how citizens divided by intractable religious and philosophical disagreements could come to endorse a constitutional democratic regime. The third, The Law of Peoples, focused on the issue of global justice.
A Theory of Justice
A Theory of Justice, published in 1971, aimed to resolve the seemingly competing claims of freedom and equality. The shape Rawls's resolution took, however, was not that of a balancing act that compromised or weakened the moral claim of one value compared with the other. Rather, his intent was to show that notions of freedom and equality could be integrated into a seamless unity he called justice as fairness. By attempting to enhance the perspective which his readers should take when thinking about justice, Rawls hoped to show the supposed conflict between freedom and equality to be illusory.
Rawls's A Theory of Justice (1971) includes a thought experiment he called the "original position." The intuition motivating its employment is this: the enterprise of political philosophy will be greatly benefited by a specification of the correct standpoint a person should take in his or her thinking about justice. When we think about what it would mean for a just state of affairs to obtain between persons, we eliminate certain features (such as hair or eye color, height, race, etc.) and fixate upon others. Rawls's original position is meant to encode all of our intuitions about which features are relevant, and which irrelevant, for the purposes of deliberating well about justice.
The original position is Rawls' hypothetical scenario in which a group of persons is set the task of reaching an agreement about the kind of political and economic structure they want for a society, which they will then occupy. Each individual, however, deliberates behind a "veil of ignorance": each lacks knowledge, for example, of his or her gender, race, age, intelligence, wealth, skills, education and religion. The only thing that a given member knows about themselves is that they are in possession of the basic capacities necessary to fully and wilfully participate in an enduring system of mutual cooperation; each knows they can be a member of the society.
Rawls posits two basic capacities that the individuals would know themselves to possess. First, individuals know that they have the capacity to form, pursue and revise a conception of the good, or life plan. Exactly what sort of conception of the good this is, however, the individual does not yet know. It may be, for example, religious or secular, but at the start, the individual in the original position does not know which. Second, each individual understands him or herself to have the capacity to develop a sense of justice and a generally effective desire to abide by it. Knowing only these two features of themselves, the group will deliberate in order to design a social structure, during which each person will seek his or her maximal advantage. The idea is that proposals that we would ordinarily think of as unjust – such as that black people or women should not be allowed to hold public office – will not be proposed, in this, Rawls' original position, because it would be irrational to propose them. The reason is simple: one does not know whether he himself would be a woman or a black person. This position is expressed in the difference principle, according to which, in a system of ignorance about one's status, one would strive to improve the position of the worst off, because he might find himself in that position.
Rawls develops his original position by modelling it, in certain respects at least, after the "initial situations" of various social contract thinkers who came before him, including Thomas Hobbes, John Locke and Jean-Jacques Rousseau. Each social contractarian constructs his/her initial situation somewhat differently, having in mind a unique political morality s/he intends the thought experiment to generate. Iain King has suggested the original position draws on Rawls' experiences in post-war Japan, where the US Army was challenged with designing new social and political authorities for the country, while "imagining away all that had gone before."
In social justice processes, each person early on makes decisions about which features of persons to consider and which to ignore. Rawls's aspiration is to have created a thought experiment whereby a version of that process is carried to its completion, illuminating the correct standpoint a person should take in his or her thinking about justice. If he has succeeded, then the original position thought experiment may function as a full specification of the moral standpoint we should attempt to achieve when deliberating about social justice.
In setting out his theory, Rawls described his method as one of "reflective equilibrium," a concept which has since been used in other areas of philosophy. Reflective equilibrium is achieved by mutually adjusting one's general principles and one's considered judgements on particular cases, to bring the two into line with one another.
Principles of justice
Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick).
Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged.
Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls’ theory of justice stakes out the task of equalizing the distribution of primary social goods to those least advantaged in society and thus may be seen as a largely political answer to the question of justice, with matters of morality somewhat conflated into a political account of justice and just institutions. Relational approaches to the question of justice, by contrast, seek to examine the connections between individuals and focuses on their relations in societies, with respect to how these relationships are established and configured.
Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers.
Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice." In this respect, he understood justice as fairness as a contribution to "ideal theory," the determination of "principles that characterize a well-ordered society under favorable circumstances." Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory."
Political Liberalism
In Political Liberalism (1993), Rawls turned towards the question of political legitimacy in the context of intractable philosophical, religious, and moral disagreement amongst citizens regarding the human good. Such disagreement, he insisted, was reasonable – the result of the free exercise of human rationality under the conditions of open enquiry and free conscience that the liberal state is designed to safeguard. The question of legitimacy in the face of reasonable disagreement was urgent for Rawls because his own justification of Justice as Fairness relied upon a Kantian conception of the human good that can be reasonably rejected. If the political conception offered in A Theory of Justice can only be shown to be good by invoking a controversial conception of human flourishing, it is unclear how a liberal state ordered according to it could possibly be legitimate.
The intuition animating this seemingly new concern is actually no different from the guiding idea of A Theory of Justice, namely that the fundamental charter of a society must rely only on principles, arguments and reasons that cannot be reasonably rejected by the citizens whose lives will be limited by its social, legal, and political circumscriptions. In other words, the legitimacy of a law is contingent upon its justification being impossible to reasonably reject. This old insight took on a new shape, however, when Rawls realized that its application must extend to the deep justification of Justice as Fairness itself, which he had presented in terms of a reasonably rejectable (Kantian) conception of human flourishing as the free development of autonomous moral agency.
The core of Political Liberalism, accordingly, is its insistence that, in order to retain its legitimacy, the liberal state must commit itself to the "ideal of public reason." This roughly means that citizens in their public capacity must engage one another only in terms of reasons whose status as reasons is shared between them. Political reasoning, then, is to proceed purely in terms of "public reasons." For example: a Supreme Court justice deliberating on whether or not the denial to homosexuals of the ability to marry constitutes a violation of the 14th Amendment's Equal Protection Clause may not advert to his religious convictions on the matter, but he may take into account the argument that a same-sex household provides sub-optimal conditions for a child's development. This is because reasons based upon the interpretation of sacred text are non-public (their force as reasons relies upon faith commitments that can be reasonably rejected), whereas reasons that rely upon the value of providing children with environments in which they may develop optimally are public reasons – their status as reasons draws upon no deep, controversial conception of human flourishing.
Rawls held that the duty of civility – the duty of citizens to offer one another reasons that are mutually understood as reasons – applies within what he called the "public political forum." This forum extends from the upper reaches of government – for example the supreme legislative and judicial bodies of the society – all the way down to the deliberations of a citizen deciding for whom to vote in state legislatures or how to vote in public referenda. Campaigning politicians should also, he believed, refrain from pandering to the non-public religious or moral convictions of their constituencies.
The ideal of public reason secures the dominance of the public political values – freedom, equality, and fairness – that serve as the foundation of the liberal state. But what about the justification of these values? Since any such justification would necessarily draw upon deep (religious or moral) metaphysical commitments which would be reasonably rejectable, Rawls held that the public political values may only be justified privately by individual citizens. The public liberal political conception and its attendant values may and will be affirmed publicly (in judicial opinions and presidential addresses, for example) but its deep justifications will not. The task of justification falls to what Rawls called the "reasonable comprehensive doctrines" and the citizens who subscribe to them. A reasonable Catholic will justify the liberal values one way, a reasonable Muslim another, and a reasonable secular citizen yet another way. One may illustrate Rawls's idea using a Venn diagram: the public political values will be the shared space upon which overlap numerous reasonable comprehensive doctrines. Rawls's account of stability presented in A Theory of Justice is a detailed portrait of the compatibility of one – Kantian – comprehensive doctrine with justice as fairness. His hope is that similar accounts may be presented for many other comprehensive doctrines. This is Rawls's famous notion of an "overlapping consensus."
Such a consensus would necessarily exclude some doctrines, namely, those that are "unreasonable," and so one may wonder what Rawls has to say about such doctrines. An unreasonable comprehensive doctrine is unreasonable in the sense that it is incompatible with the duty of civility. This is simply another way of saying that an unreasonable doctrine is incompatible with the fundamental political values a liberal theory of justice is designed to safeguard – freedom, equality and fairness. So one answer to the question of what Rawls has to say about such doctrines is – nothing. For one thing, the liberal state cannot justify itself to individuals (such as religious fundamentalists) who hold to such doctrines, because any such justification would – as has been noted – proceed in terms of controversial moral or religious commitments that are excluded from the public political forum. But, more importantly, the goal of the Rawlsian project is primarily to determine whether or not the liberal conception of political legitimacy is internally coherent, and this project is carried out by the specification of what sorts of reasons persons committed to liberal values are permitted to use in their dialogue, deliberations and arguments with one another about political matters. The Rawlsian project has this goal to the exclusion of concern with justifying liberal values to those not already committed – or at least open – to them. Rawls's concern is with whether or not the idea of political legitimacy fleshed out in terms of the duty of civility and mutual justification can serve as a viable form of public discourse in the face of the religious and moral pluralism of modern democratic society, not with justifying this conception of political legitimacy in the first place.
Rawls also modified the principles of justice as follows (with the first principle having priority over the second, and the first half of the second having priority over the latter half):
Each person has an equal claim to a fully adequate scheme of basic rights and liberties, which scheme is compatible with the same scheme for all; and in this scheme the equal political liberties, and only those liberties, are to be guaranteed their fair value.
Social and economic inequalities are to satisfy two conditions: first, they are to be attached to positions and offices open to all under conditions of fair equality of opportunity; and second, they are to be to the greatest benefit of the least advantaged members of society.
These principles are subtly modified from the principles in Theory. The first principle now reads "equal claim" instead of "equal right," and he also replaces the phrase "system of basic liberties" with "a fully adequate scheme of equal basic rights and liberties." The two parts of the second principle are also switched, so that the difference principle becomes the latter of the three.
The Law of Peoples
Although there were passing comments on international affairs in A Theory of Justice, it was not until late in his career that Rawls formulated a comprehensive theory of international politics with the publication of The Law of Peoples. He claimed there that "well-ordered" peoples could be either "liberal" or "decent." Rawls's basic distinction in international politics is that his preferred emphasis on a society of peoples is separate from the more conventional and historical discussion of international politics as based on relationships between states.
Rawls argued that the legitimacy of a liberal international order is contingent on tolerating decent peoples, which differ from liberal peoples, among other ways, in that they might have state religions and deny adherents of minority faiths the right to hold positions of power within the state, and might organize political participation via consultation hierarchies rather than elections. However, no well-ordered peoples may violate human rights or behave in an externally aggressive manner. Peoples that fail to meet the criteria of "liberal" or "decent" peoples are referred to as 'outlaw states,' 'societies burdened by unfavourable conditions' or "benevolent absolutisms' depending on their particular failings. Such peoples do not have the right to mutual respect and toleration possessed by liberal and decent peoples.
Rawls's views on global distributive justice as they were expressed in this work surprised many of his fellow egalitarian liberals. For example, Charles Beitz had previously written a study that argued for the application of Rawls's Difference Principles globally. Rawls denied that his principles should be so applied, partly on the grounds that a world state does not exist and would not be stable. This notion has been challenged, as a comprehensive system of global governance has arisen, amongst others in the form of the Bretton Woods system, that serves to distribute primary social goods between human beings. It has thus been argued that a cosmopolitan application of the theory of justice as fairness is the more reasonable alternative to the application of The Law of Peoples, as it would be more legitimate towards all persons over whom political coercive power is exercised.
According to Rawls however, nation states, unlike citizens, were self-sufficient in the cooperative enterprises that constitute domestic societies. Although Rawls recognized that aid should be given to governments which are unable to protect human rights for economic reasons, he claimed that the purpose for this aid is not to achieve an eventual state of global equality, but rather only to ensure that these societies could maintain liberal or decent political institutions. He argued, among other things, that continuing to give aid indefinitely would see nations with industrious populations subsidize those with idle populations and would create a moral hazard problem where governments could spend irresponsibly in the knowledge that they will be bailed out by those nations who had spent responsibly.
Rawls's discussion of "non-ideal" theory, on the other hand, included a condemnation of bombing civilians and of the American bombing of German and Japanese cities in World War II, as well as discussions of immigration and nuclear proliferation. He also detailed here the ideal of the statesman, a political leader who looks to the next generation and promotes international harmony, even in the face of significant domestic pressure to act otherwise. Rawls also controversially claimed that violations of human rights can legitimize military intervention in the violating states, though he also expressed the hope that such societies could be induced to reform peacefully by the good example of liberal and decent peoples.
Influence and reception
Despite the exacting, academic tone of Rawls' writing and his reclusive personality, his philosophical work has exerted an enormous impact on not only contemporary moral and political philosophy but also public political discourse. During the student protests at Tiananmen Square in 1989, copies of "A Theory of Justice" were brandished by protesters in the face of government officials. Despite being approximately 600 pages long, over 300,000 copies of that book have been sold, stimulating critical responses from utilitarian, feminist, conservative, libertarian, Catholic, communitarian, Marxist and Green scholars, which Rawls welcomed.
Although having a profound influence on theories of distributive justice both in theory and in practice, the generally anti-meritocratic sentiment of Rawls' thinking has not been widely accepted by the political left. He consistently held the view that naturally developed skills and endowments could not be neatly distinguished from inherited ones, and that neither could be used to justify moral desert. Instead, he held the view that individuals could "legitimately expect" entitlements to the earning of income or development of abilities based on institutional arrangements. This aspect of Rawls' work has been instrumental in the development of such ideas as luck egalitarianism and unconditional basic income, which have themselves been criticized. The strictly egalitarian quality of Rawls' second principle of justice has called into question the type of equality that fair societies ought to embody.
The Communitarian Critique
Charles Taylor, Alasdair Macintyre, Michael Sandel, and Michael Walzer all have posed formidable oppositions to Rawls' theory of justice throughout their careers, stimulating a large reactionary body of normative and critical scholarship.
The September Group
The late philosopher G.A. Cohen, along with political scientist Jon Elster, and John Roemer used Rawls' writings extensively to inaugurate the Analytical Marxism movement in the 1980s.
The Frankfurt School
In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years", just ahead of Jürgen Habermas, whose scholarly work he engaged with during the later part of his career (see Habermas-Rawls debate), and Michel Foucault. Habermas' reading of Rawls lead to an appreciation of Rawls' work and other analytical philosophers by the esteemed Frankfurt School of critical theory, and many of Habermas' own students and associates were expected to be familiar with Rawls by the late 1980s. Rainer Forst, who was described in 2012 as the "most important political philosopher of his generation" was advised both by Rawls and Habermas in completing his PhD. Axel Honneth, Fabian Freyenhagen, and James Gordon Finlayson have also drawn on Rawls' work in comparison to Habermas.
Feminist political philosophy
Philosopher Eva Kittay has extended the work of John Rawls to address the concerns of women and the cognitively disabled.
Awards and honors
Bronze Star for radio work behind enemy lines in World War II.
Ralph Waldo Emerson Award (1972)
Member of the Norwegian Academy of Science and Letters (1992)
Schock Prize for Logic and Philosophy (1999)
National Humanities Medal (1999)
Asteroid 16561 Rawls is named in his honor.
Musical
John Rawls is featured as the protagonist of A Theory of Justice: The Musical!, an award-nominated musical comedy, which premiered at Oxford in 2013 and was revived for the Edinburgh Fringe Festival.
Publications
Bibliography
A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Ph.D. dissertation, Princeton University, 1950.
A Theory of Justice. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1971. The revised edition of 1999 incorporates changes that Rawls made for translated editions of A Theory of Justice. Some Rawls scholars use the abbreviation TJ to refer to this work.
Political Liberalism. The John Dewey Essays in Philosophy, 4. New York: Columbia University Press, 1993. The hardback edition published in 1993 is not identical. The paperback adds a valuable new introduction and an essay titled "Reply to Habermas." Some Rawls scholars use the abbreviation PL to refer to this work.
The Law of Peoples: with "The Idea of Public Reason Revisited." Cambridge, Massachusetts: Harvard University Press, 1999. This slim book includes two works; a further development of his essay entitled "The Law of Peoples" and another entitled "Public Reason Revisited," both published earlier in his career.
Collected Papers. Cambridge, Massachusetts: Harvard University Press, 1999. This collection of shorter papers was edited by Samuel Freeman.
Lectures on the History of Moral Philosophy. Cambridge, Massachusetts, Harvard University Press, 2000. This collection of lectures was edited by Barbara Herman. It has an introduction on modern moral philosophy from 1600 to 1800 and then lectures on Hume, Leibniz, Kant and Hegel.
Justice as Fairness: A Restatement. Cambridge, Massachusetts: Belknap Press, 2001. This shorter summary of the main arguments of Rawls's political philosophy was edited by Erin Kelly. Many versions of this were circulated in typescript and much of the material was delivered by Rawls in lectures when he taught courses covering his own work at Harvard University.
Lectures on the History of Political Philosophy. Cambridge, Massachusetts: Harvard University Press, 2007. Collection of lectures on Thomas Hobbes, John Locke, Joseph Butler, Jean-Jacques Rousseau, David Hume, John Stuart Mill and Karl Marx, edited by Samuel Freeman.
A Brief Inquiry into the Meaning of Sin and Faith. Cambridge, Massachusetts, Harvard University Press, 2010. With introduction and commentary by Thomas Nagel, Joshua Cohen and Robert Merrihew Adams. Senior thesis, Princeton, 1942. This volume includes a brief late essay by Rawls entitled On My Religion.
Articles
"Outline of a Decision Procedure for Ethics." Philosophical Review (April 1951), 60 (2): 177–97.
"Two Concepts of Rules." Philosophical Review (January 1955), 64 (1):3–32.
"Justice as Fairness." Journal of Philosophy (October 24, 1957), 54 (22): 653–62.
"Justice as Fairness." Philosophical Review (April 1958), 67 (2): 164–94.
"The Sense of Justice." Philosophical Review (July 1963), 72 (3): 281–305.
"Constitutional Liberty and the Concept of Justice" Nomos VI (1963)
"Distributive Justice: Some Addenda." Natural Law Forum (1968), 13: 51–71.
"Reply to Lyons and Teitelman." Journal of Philosophy (October 5, 1972), 69 (18): 556–57.
"Reply to Alexander and Musgrave." Quarterly Journal of Economics (November 1974), 88 (4): 633–55.
"Some Reasons for the Maximin Criterion." American Economic Review (May 1974), 64 (2): 141–46.
"Fairness to Goodness." Philosophical Review (October 1975), 84 (4): 536–54.
"The Independence of Moral Theory." Proceedings and Addresses of the American Philosophical Association (November 1975), 48: 5–22.
"A Kantian Conception of Equality." Cambridge Review (February 1975), 96 (2225): 94–99.
"The Basic Structure as Subject." American Philosophical Quarterly (April 1977), 14 (2): 159–65.
"Kantian Constructivism in Moral Theory." Journal of Philosophy (September 1980), 77 (9): 515–72.
"Justice as Fairness: Political not Metaphysical." Philosophy & Public Affairs (Summer 1985), 14 (3): 223–51.
"The Idea of an Overlapping Consensus." Oxford Journal for Legal Studies (Spring 1987), 7 (1): 1–25.
"The Priority of Right and Ideas of the Good." Philosophy & Public Affairs (Fall 1988), 17 (4): 251–76.
"The Domain of the Political and Overlapping Consensus." New York University Law Review (May 1989), 64 (2): 233–55.
"Roderick Firth: His Life and Work." Philosophy and Phenomenological Research (March 1991), 51 (1): 109–18.
"The Law of Peoples." Critical Inquiry (Fall 1993), 20 (1): 36–68.
"Political Liberalism: Reply to Habermas." Journal of Philosophy (March 1995), 92 (3):132–80.
"The Idea of Public Reason Revisited." Chicago Law Review (1997), 64 (3): 765–807. [PRR]
Book chapters
"Constitutional Liberty and the Concept of Justice." In Carl J. Friedrich and John W. Chapman, eds., Nomos, VI: Justice, pp. 98–125. Yearbook of the American Society for Political and Legal Philosophy. New York: Atherton Press, 1963.
"Legal Obligation and the Duty of Fair Play." In Sidney Hook, ed., Law and Philosophy: A Symposium, pp. 3–18. New York: New York University Press, 1964. Proceedings of the 6th Annual New York University Institute of Philosophy.
"Distributive Justice." In Peter Laslett and W. G. Runciman, eds., Philosophy, Politics, and Society. Third Series, pp. 58–82. London: Blackwell; New York: Barnes & Noble, 1967.
"The Justification of Civil Disobedience." In Hugo Adam Bedau, ed., Civil Disobedience: Theory and Practice, pp. 240–55. New York: Pegasus Books, 1969.
"Justice as Reciprocity." In Samuel Gorovitz, ed., Utilitarianism: John Stuart Mill: With Critical Essays, pp. 242–68. New York: Bobbs-Merrill, 1971.
"Author's Note." In Thomas Schwartz, ed., Freedom and Authority: An Introduction to Social and Political Philosophy, p. 260. Encino & Belmont, California: Dickenson, 1973.
"Distributive Justice." In Edmund S. Phelps, ed., Economic Justice: Selected Readings, pp. 319–62. Penguin Modern Economics Readings. Harmondsworth & Baltimore: Penguin Books, 1973.
"Personal Communication, January 31, 1976." In Thomas Nagel's "The Justification of Equality." Critica (April 1978), 10 (28): 9n4.
"The Basic Liberties and Their Priority." In Sterling M. McMurrin, ed., The Tanner Lectures on Human Values, III (1982), pp. 1–87. Salt Lake City: University of Utah Press; Cambridge: Cambridge University Press, 1982.
"Social unity and primary goods" in
"Themes in Kant's Moral Philosophy." In Eckhart Forster, ed., Kant's Transcendental Deductions: The Three Critiques and the Opus postumum, pp. 81–113, 253–56. Stanford Series in Philosophy. Studies in Kant and German Idealism. Stanford, California: Stanford University Press, 1989.
Reviews
Review of Axel Hägerström's Inquiries into the Nature of Law and Morals (C.D. Broad, tr.). Mind (July 1955), 64 (255):421–22.
Review of Stephen Toulmin's An Examination of the Place of Reason in Ethics (1950). Philosophical Review (October 1951), 60 (4): 572–80.
Review of A. Vilhelm Lundstedt's Legal Thinking Revised. Cornell Law Quarterly (1959), 44: 169.
Review of Raymond Klibansky, ed., Philosophy in Mid-Century: A Survey. Philosophical Review (January 1961), 70 (1): 131–32.
Review of Richard B. Brandt, ed., Social Justice (1962). Philosophical Review (July 1965), 74(3): 406–09.
See also
Anarchy, State, and Utopia
List of American philosophers
List of liberal theorists
Philosophy of economics
A Theory of Justice: The Musical!
Notes
References
Freeman, S. (2007) Rawls (Routledge, Abingdon)
Freeman, Samuel (2009) "Original Position" (The Stanford Encyclopedia of Philosophy, Original Position)
Rawls, J. (1993/1996/2005) Political Liberalism (Columbia University Press, New York)
Rogers, B. (27.09.02) "Obituary: John Rawls" Obituary: John Rawls
Tampio, N. (2011) "A Defense of Political Constructivism" (Contemporary Political Theory, A defense of political constructivism)
Wenar, Leif (2008) "John Rawls" (The Stanford Encyclopedia of Philosophy, John Rawls)
External links
Audio recordings of Rawls' 1983 lecture course "Modern Political Philosophy"
Cambridge Rawls Lexicon
Internet Encyclopedia of Philosophy Entry on John Rawls by Henry S. Richardson
Internet Encyclopedia of Philosophy Entry on Political Constructivisim by Michael Buckley
Stanford Encyclopedia of Philosophy Entry on John Rawls by Leif Wenar
Stanford Encyclopedia of Philosophy Entry on Original Position by Fred D'Agostino
Stanford Encyclopedia of Philosophy Entry on Reflective Equilibrium by Norman Daniels
John Rawls on Google Scholar
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[
"The least dangerous assumption is an inclusive approach to educational policy and pedagogy. It holds that, \"in the absence of conclusive data educational decisions should be based on assumptions which, if incorrect, will have the least dangerous effect on the student\". This concept was coined in 1984 by Anne Donnellan, a researcher in special education. The principle is most closely associated with the areas of intellectual disability and communication disorder, although it can be applied more generally in the domain of learning and teaching, and beyond. In most contexts in which it is used the principle holds that one should, in the absence of evidence to the contrary, presume competence, rather than non-competence, in others.\n\nThe \"presumption of competence\" can be regarded as the \"least dangerous\" assumption to make about a person because, the principle holds, it is less damaging to presume competence in another, and to be wrong, than it is to presume non-competence (incompetence) in another, and to be wrong. Take the example of a teacher who is uncertain about the extent to which a given student (with a severe communication impairment) understands what is said to them. The principle holds that it is less dangerous to assume that the student understands everything that is said, and to be wrong about that, than to assume that the student understands nothing that is said, and to be wrong in that direction. Under the latter assumption the risk is that the teacher speaks too little to the student (or, in an extreme form of the argument, the teacher may not speak to the student at all). This is potentially 'dangerous' because it deprives the child of the known benefits of a language-rich environment. Under the former assumption the risk is that the teacher will speak too much to the student, which, advocates of this approach maintain, is less dangerous.\n\nThe principle comes into play in educational policy and teaching practice under conditions of uncertainty (\"in the absence of conclusive data\"). Debate on the usefulness of the principle revolves around the question of what constitutes \"conclusive data\" when it comes to making complex educational decisions.\n\nSee also\n Dignity of risk\n Social inclusion\n\nReferences \n\nEducation policy\nEducational environment\nPedagogy\nSpecial education",
"The penthouse principle, a term in syntax coined by John R. Ross in 1973, describes the fact that many syntactic phenomena treat matrix (or main) clauses differently from embedded (or subordinate) clauses:\n\nThe penthouse principle: The rules are different if you live in the penthouse.\n\nThe penthouse named in the principle is the top-floor of a high-rise apartment building, and is a metaphor for the matrix clause in a multi-clause structure (which, when diagrammed in usual phrase marker notation, contains the highest clause node in the structure). Perhaps the best-known example of a penthouse principle effect is the distribution of subject-auxiliary inversion in constituent questions in English, which in many (but not all) varieties of English is restricted to matrix clauses:\n\n(1) a. What can Sam do about it?\n b. I'll find out what Sam can do about it.\n\nCompare:\n(2) a. *What Sam can do about it?\n b. *I'll find out what can Sam do about it.\n\nOther phenomena falling under the penthouse principle are V2-effects in the Germanic languages and the distribution of declarative markers, imperative morphology, and of various particles in a variety of languages.\n\nNotes\n\nReferences\n\n \n \n\nSyntax\nEnglish grammar"
] |
[
"John Rawls",
"Principles of justice",
"What is the Principles of justice?",
"The first of these is the Liberty Principle,",
"What is the Liberty Principle?",
"establishes equal basic liberties for all citizens.",
"What is another principle?",
"a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle."
] |
C_fbdc972b162d4afc9a73b6e6d63c5bb1_1
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Why is the difference principle controversial?
| 4 |
Why is John Rawls' difference principle controversial?
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John Rawls
|
Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick). Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged. Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers. Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice". In this respect, he understood justice as fairness as a contribution to "ideal theory", the determination of "principles that characterize a well-ordered society under favorable circumstances". Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory". CANNOTANSWER
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CANNOTANSWER
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John Bordley Rawls (; February 21, 1921 – November 24, 2002) was an American moral and political philosopher in the liberal tradition. Rawls received both the Schock Prize for Logic and Philosophy and the National Humanities Medal in 1999, the latter presented by President Bill Clinton, in recognition of how Rawls's work "revived the disciplines of political and ethical philosophy with his argument that a society in which the most fortunate help the least fortunate is not only a moral society but a logical one".
In 1990, Will Kymlicka wrote in his introduction to the field that "it is generally accepted that the recent rebirth of normative political philosophy began with the publication of John Rawls's A Theory of Justice in 1971". Rawls has often been described as one of the most influential political philosophers of the 20th century. He has the unusual distinction among contemporary political philosophers of being frequently cited by the courts of law in the United States and Canada and referred to by practising politicians in the United States and the United Kingdom. In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years".
Rawls's theory of "justice as fairness" recommends equal basic liberties, equality of opportunity, and facilitating the maximum benefit to the least advantaged members of society in any case where inequalities may occur. Rawls's argument for these principles of social justice uses a thought experiment called the "original position", in which people deliberately select what kind of society they would choose to live in if they did not know which social position they would personally occupy. In his later work Political Liberalism (1993), Rawls turned to the question of how political power could be made legitimate given reasonable disagreement about the nature of the good life.
Biography
Early life
Rawls was born in Baltimore, Maryland. He was the second of five sons born to William Lee Rawls, a prominent Baltimore attorney, and Anna Abell Stump Rawls. Tragedy struck Rawls at a young age:
Two of his brothers died in childhood because they had contracted fatal illnesses from him. ... In 1928, the seven-year-old Rawls contracted diphtheria. His brother Bobby, younger by 20 months, visited him in his room and was fatally infected. The next winter, Rawls contracted pneumonia. Another younger brother, Tommy, caught the illness from him and died.
Rawls's biographer Thomas Pogge calls the loss of the brothers the "most important events in John's childhood."
Rawls graduated from the Calvert School in Baltimore before enrolling in the Kent School, an Episcopalian preparatory school in Connecticut. Upon graduation in 1939, Rawls attended Princeton University, where he was accepted into The Ivy Club and the American Whig-Cliosophic Society. At Princeton, Rawls was influenced by Norman Malcolm, Ludwig Wittgenstein's student. During his last two years at Princeton, he "became deeply concerned with theology and its doctrines." He considered attending a seminary to study for the Episcopal priesthood and wrote an "intensely religious senior thesis (BI)." In his 181-page long thesis titled "Meaning of Sin and Faith," Rawls attacked Pelagianism because it "would render the Cross of Christ to no effect." His argument was partly drawn from Karl Marx's book On the Jewish Question, which criticized the idea that natural inequality in ability could be a just determiner of the distribution of wealth in society. Even after Rawls became an atheist, many of the anti-Pelagian arguments he used were repeated in A Theory of Justice. Rawls graduated from Princeton in 1943 with a Bachelor of Arts summa cum laude.
Military service, 1943–46
Rawls enlisted in the U.S. Army in February 1943. During World War II, Rawls served as an infantryman in the Pacific, where he served a tour of duty in New Guinea and was awarded a Bronze Star; and the Philippines, where he endured intensive trench warfare and witnessed traumatizing scenes of violence and bloodshed. It was there that he lost his Christian faith and became an atheist.
Following the surrender of Japan, Rawls became part of General MacArthur's occupying army and was promoted to sergeant. But he became disillusioned with the military when he saw the aftermath of the atomic blast in Hiroshima. Rawls then disobeyed an order to discipline a fellow soldier, "believing no punishment was justified," and was "demoted back to a private." Disenchanted, he left the military in January 1946.
Academic career
In early 1946, Rawls returned to Princeton to pursue a doctorate in moral philosophy. He married Margaret Warfield Fox, a Brown University graduate, in 1949. They had four children, Anne Warfield, Robert Lee, Alexander Emory, and Elizabeth Fox.
Rawls received his Ph.D. from Princeton in 1950 after completing a doctoral dissertation titled A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Rawls taught there until 1952 when he received a Fulbright Fellowship to Oxford University (Christ Church), where he was influenced by the liberal political theorist and historian Isaiah Berlin and the legal theorist H. L. A. Hart. After returning to the United States he served first as an assistant and then associate professor at Cornell University. In 1962, he became a full professor of philosophy at Cornell, and soon achieved a tenured position at MIT. That same year, he moved to Harvard University, where he taught for almost forty years and where he trained some of the leading contemporary figures in moral and political philosophy, including Sibyl-A-Schwarzenbach, Thomas Nagel, Allan Gibbard, Onora O'Neill, Adrian Piper, Arnold Davidson, Elizabeth S. Anderson, Christine Korsgaard, Susan Neiman, Claudia Card, Rainer Forst, Thomas Pogge, T. M. Scanlon, Barbara Herman, Joshua Cohen, Thomas E. Hill Jr., Gurcharan Das, Andreas Teuber, Samuel Freeman and Paul Weithman. He held the James Bryant Conant University Professorship at Harvard.
Later life
Rawls seldom gave interviews and, having both a stutter (partially caused by the deaths of two of his brothers, who died through infections contracted from Rawls) and a "bat-like horror of the limelight," did not become a public intellectual despite his fame. He instead remained committed mainly to his academic and family life.
In 1995, he suffered the first of several strokes, severely impeding his ability to continue to work. He was nevertheless able to complete The Law of Peoples, the most complete statement of his views on international justice, and published in 2001 shortly before his death Justice As Fairness: A Restatement, a response to criticisms of A Theory of Justice. Rawls died on November 24, 2002, at age 81, and was buried at the Mount Auburn Cemetery in Massachusetts. He was survived by his wife, Mard Rawls, and their four children, and four grandchildren.
Philosophical thought
Rawls published three main books. The first, A Theory of Justice, focused on distributive justice and attempted to reconcile the competing claims of the values of freedom and equality. The second, Political Liberalism, addressed the question of how citizens divided by intractable religious and philosophical disagreements could come to endorse a constitutional democratic regime. The third, The Law of Peoples, focused on the issue of global justice.
A Theory of Justice
A Theory of Justice, published in 1971, aimed to resolve the seemingly competing claims of freedom and equality. The shape Rawls's resolution took, however, was not that of a balancing act that compromised or weakened the moral claim of one value compared with the other. Rather, his intent was to show that notions of freedom and equality could be integrated into a seamless unity he called justice as fairness. By attempting to enhance the perspective which his readers should take when thinking about justice, Rawls hoped to show the supposed conflict between freedom and equality to be illusory.
Rawls's A Theory of Justice (1971) includes a thought experiment he called the "original position." The intuition motivating its employment is this: the enterprise of political philosophy will be greatly benefited by a specification of the correct standpoint a person should take in his or her thinking about justice. When we think about what it would mean for a just state of affairs to obtain between persons, we eliminate certain features (such as hair or eye color, height, race, etc.) and fixate upon others. Rawls's original position is meant to encode all of our intuitions about which features are relevant, and which irrelevant, for the purposes of deliberating well about justice.
The original position is Rawls' hypothetical scenario in which a group of persons is set the task of reaching an agreement about the kind of political and economic structure they want for a society, which they will then occupy. Each individual, however, deliberates behind a "veil of ignorance": each lacks knowledge, for example, of his or her gender, race, age, intelligence, wealth, skills, education and religion. The only thing that a given member knows about themselves is that they are in possession of the basic capacities necessary to fully and wilfully participate in an enduring system of mutual cooperation; each knows they can be a member of the society.
Rawls posits two basic capacities that the individuals would know themselves to possess. First, individuals know that they have the capacity to form, pursue and revise a conception of the good, or life plan. Exactly what sort of conception of the good this is, however, the individual does not yet know. It may be, for example, religious or secular, but at the start, the individual in the original position does not know which. Second, each individual understands him or herself to have the capacity to develop a sense of justice and a generally effective desire to abide by it. Knowing only these two features of themselves, the group will deliberate in order to design a social structure, during which each person will seek his or her maximal advantage. The idea is that proposals that we would ordinarily think of as unjust – such as that black people or women should not be allowed to hold public office – will not be proposed, in this, Rawls' original position, because it would be irrational to propose them. The reason is simple: one does not know whether he himself would be a woman or a black person. This position is expressed in the difference principle, according to which, in a system of ignorance about one's status, one would strive to improve the position of the worst off, because he might find himself in that position.
Rawls develops his original position by modelling it, in certain respects at least, after the "initial situations" of various social contract thinkers who came before him, including Thomas Hobbes, John Locke and Jean-Jacques Rousseau. Each social contractarian constructs his/her initial situation somewhat differently, having in mind a unique political morality s/he intends the thought experiment to generate. Iain King has suggested the original position draws on Rawls' experiences in post-war Japan, where the US Army was challenged with designing new social and political authorities for the country, while "imagining away all that had gone before."
In social justice processes, each person early on makes decisions about which features of persons to consider and which to ignore. Rawls's aspiration is to have created a thought experiment whereby a version of that process is carried to its completion, illuminating the correct standpoint a person should take in his or her thinking about justice. If he has succeeded, then the original position thought experiment may function as a full specification of the moral standpoint we should attempt to achieve when deliberating about social justice.
In setting out his theory, Rawls described his method as one of "reflective equilibrium," a concept which has since been used in other areas of philosophy. Reflective equilibrium is achieved by mutually adjusting one's general principles and one's considered judgements on particular cases, to bring the two into line with one another.
Principles of justice
Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick).
Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged.
Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls’ theory of justice stakes out the task of equalizing the distribution of primary social goods to those least advantaged in society and thus may be seen as a largely political answer to the question of justice, with matters of morality somewhat conflated into a political account of justice and just institutions. Relational approaches to the question of justice, by contrast, seek to examine the connections between individuals and focuses on their relations in societies, with respect to how these relationships are established and configured.
Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers.
Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice." In this respect, he understood justice as fairness as a contribution to "ideal theory," the determination of "principles that characterize a well-ordered society under favorable circumstances." Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory."
Political Liberalism
In Political Liberalism (1993), Rawls turned towards the question of political legitimacy in the context of intractable philosophical, religious, and moral disagreement amongst citizens regarding the human good. Such disagreement, he insisted, was reasonable – the result of the free exercise of human rationality under the conditions of open enquiry and free conscience that the liberal state is designed to safeguard. The question of legitimacy in the face of reasonable disagreement was urgent for Rawls because his own justification of Justice as Fairness relied upon a Kantian conception of the human good that can be reasonably rejected. If the political conception offered in A Theory of Justice can only be shown to be good by invoking a controversial conception of human flourishing, it is unclear how a liberal state ordered according to it could possibly be legitimate.
The intuition animating this seemingly new concern is actually no different from the guiding idea of A Theory of Justice, namely that the fundamental charter of a society must rely only on principles, arguments and reasons that cannot be reasonably rejected by the citizens whose lives will be limited by its social, legal, and political circumscriptions. In other words, the legitimacy of a law is contingent upon its justification being impossible to reasonably reject. This old insight took on a new shape, however, when Rawls realized that its application must extend to the deep justification of Justice as Fairness itself, which he had presented in terms of a reasonably rejectable (Kantian) conception of human flourishing as the free development of autonomous moral agency.
The core of Political Liberalism, accordingly, is its insistence that, in order to retain its legitimacy, the liberal state must commit itself to the "ideal of public reason." This roughly means that citizens in their public capacity must engage one another only in terms of reasons whose status as reasons is shared between them. Political reasoning, then, is to proceed purely in terms of "public reasons." For example: a Supreme Court justice deliberating on whether or not the denial to homosexuals of the ability to marry constitutes a violation of the 14th Amendment's Equal Protection Clause may not advert to his religious convictions on the matter, but he may take into account the argument that a same-sex household provides sub-optimal conditions for a child's development. This is because reasons based upon the interpretation of sacred text are non-public (their force as reasons relies upon faith commitments that can be reasonably rejected), whereas reasons that rely upon the value of providing children with environments in which they may develop optimally are public reasons – their status as reasons draws upon no deep, controversial conception of human flourishing.
Rawls held that the duty of civility – the duty of citizens to offer one another reasons that are mutually understood as reasons – applies within what he called the "public political forum." This forum extends from the upper reaches of government – for example the supreme legislative and judicial bodies of the society – all the way down to the deliberations of a citizen deciding for whom to vote in state legislatures or how to vote in public referenda. Campaigning politicians should also, he believed, refrain from pandering to the non-public religious or moral convictions of their constituencies.
The ideal of public reason secures the dominance of the public political values – freedom, equality, and fairness – that serve as the foundation of the liberal state. But what about the justification of these values? Since any such justification would necessarily draw upon deep (religious or moral) metaphysical commitments which would be reasonably rejectable, Rawls held that the public political values may only be justified privately by individual citizens. The public liberal political conception and its attendant values may and will be affirmed publicly (in judicial opinions and presidential addresses, for example) but its deep justifications will not. The task of justification falls to what Rawls called the "reasonable comprehensive doctrines" and the citizens who subscribe to them. A reasonable Catholic will justify the liberal values one way, a reasonable Muslim another, and a reasonable secular citizen yet another way. One may illustrate Rawls's idea using a Venn diagram: the public political values will be the shared space upon which overlap numerous reasonable comprehensive doctrines. Rawls's account of stability presented in A Theory of Justice is a detailed portrait of the compatibility of one – Kantian – comprehensive doctrine with justice as fairness. His hope is that similar accounts may be presented for many other comprehensive doctrines. This is Rawls's famous notion of an "overlapping consensus."
Such a consensus would necessarily exclude some doctrines, namely, those that are "unreasonable," and so one may wonder what Rawls has to say about such doctrines. An unreasonable comprehensive doctrine is unreasonable in the sense that it is incompatible with the duty of civility. This is simply another way of saying that an unreasonable doctrine is incompatible with the fundamental political values a liberal theory of justice is designed to safeguard – freedom, equality and fairness. So one answer to the question of what Rawls has to say about such doctrines is – nothing. For one thing, the liberal state cannot justify itself to individuals (such as religious fundamentalists) who hold to such doctrines, because any such justification would – as has been noted – proceed in terms of controversial moral or religious commitments that are excluded from the public political forum. But, more importantly, the goal of the Rawlsian project is primarily to determine whether or not the liberal conception of political legitimacy is internally coherent, and this project is carried out by the specification of what sorts of reasons persons committed to liberal values are permitted to use in their dialogue, deliberations and arguments with one another about political matters. The Rawlsian project has this goal to the exclusion of concern with justifying liberal values to those not already committed – or at least open – to them. Rawls's concern is with whether or not the idea of political legitimacy fleshed out in terms of the duty of civility and mutual justification can serve as a viable form of public discourse in the face of the religious and moral pluralism of modern democratic society, not with justifying this conception of political legitimacy in the first place.
Rawls also modified the principles of justice as follows (with the first principle having priority over the second, and the first half of the second having priority over the latter half):
Each person has an equal claim to a fully adequate scheme of basic rights and liberties, which scheme is compatible with the same scheme for all; and in this scheme the equal political liberties, and only those liberties, are to be guaranteed their fair value.
Social and economic inequalities are to satisfy two conditions: first, they are to be attached to positions and offices open to all under conditions of fair equality of opportunity; and second, they are to be to the greatest benefit of the least advantaged members of society.
These principles are subtly modified from the principles in Theory. The first principle now reads "equal claim" instead of "equal right," and he also replaces the phrase "system of basic liberties" with "a fully adequate scheme of equal basic rights and liberties." The two parts of the second principle are also switched, so that the difference principle becomes the latter of the three.
The Law of Peoples
Although there were passing comments on international affairs in A Theory of Justice, it was not until late in his career that Rawls formulated a comprehensive theory of international politics with the publication of The Law of Peoples. He claimed there that "well-ordered" peoples could be either "liberal" or "decent." Rawls's basic distinction in international politics is that his preferred emphasis on a society of peoples is separate from the more conventional and historical discussion of international politics as based on relationships between states.
Rawls argued that the legitimacy of a liberal international order is contingent on tolerating decent peoples, which differ from liberal peoples, among other ways, in that they might have state religions and deny adherents of minority faiths the right to hold positions of power within the state, and might organize political participation via consultation hierarchies rather than elections. However, no well-ordered peoples may violate human rights or behave in an externally aggressive manner. Peoples that fail to meet the criteria of "liberal" or "decent" peoples are referred to as 'outlaw states,' 'societies burdened by unfavourable conditions' or "benevolent absolutisms' depending on their particular failings. Such peoples do not have the right to mutual respect and toleration possessed by liberal and decent peoples.
Rawls's views on global distributive justice as they were expressed in this work surprised many of his fellow egalitarian liberals. For example, Charles Beitz had previously written a study that argued for the application of Rawls's Difference Principles globally. Rawls denied that his principles should be so applied, partly on the grounds that a world state does not exist and would not be stable. This notion has been challenged, as a comprehensive system of global governance has arisen, amongst others in the form of the Bretton Woods system, that serves to distribute primary social goods between human beings. It has thus been argued that a cosmopolitan application of the theory of justice as fairness is the more reasonable alternative to the application of The Law of Peoples, as it would be more legitimate towards all persons over whom political coercive power is exercised.
According to Rawls however, nation states, unlike citizens, were self-sufficient in the cooperative enterprises that constitute domestic societies. Although Rawls recognized that aid should be given to governments which are unable to protect human rights for economic reasons, he claimed that the purpose for this aid is not to achieve an eventual state of global equality, but rather only to ensure that these societies could maintain liberal or decent political institutions. He argued, among other things, that continuing to give aid indefinitely would see nations with industrious populations subsidize those with idle populations and would create a moral hazard problem where governments could spend irresponsibly in the knowledge that they will be bailed out by those nations who had spent responsibly.
Rawls's discussion of "non-ideal" theory, on the other hand, included a condemnation of bombing civilians and of the American bombing of German and Japanese cities in World War II, as well as discussions of immigration and nuclear proliferation. He also detailed here the ideal of the statesman, a political leader who looks to the next generation and promotes international harmony, even in the face of significant domestic pressure to act otherwise. Rawls also controversially claimed that violations of human rights can legitimize military intervention in the violating states, though he also expressed the hope that such societies could be induced to reform peacefully by the good example of liberal and decent peoples.
Influence and reception
Despite the exacting, academic tone of Rawls' writing and his reclusive personality, his philosophical work has exerted an enormous impact on not only contemporary moral and political philosophy but also public political discourse. During the student protests at Tiananmen Square in 1989, copies of "A Theory of Justice" were brandished by protesters in the face of government officials. Despite being approximately 600 pages long, over 300,000 copies of that book have been sold, stimulating critical responses from utilitarian, feminist, conservative, libertarian, Catholic, communitarian, Marxist and Green scholars, which Rawls welcomed.
Although having a profound influence on theories of distributive justice both in theory and in practice, the generally anti-meritocratic sentiment of Rawls' thinking has not been widely accepted by the political left. He consistently held the view that naturally developed skills and endowments could not be neatly distinguished from inherited ones, and that neither could be used to justify moral desert. Instead, he held the view that individuals could "legitimately expect" entitlements to the earning of income or development of abilities based on institutional arrangements. This aspect of Rawls' work has been instrumental in the development of such ideas as luck egalitarianism and unconditional basic income, which have themselves been criticized. The strictly egalitarian quality of Rawls' second principle of justice has called into question the type of equality that fair societies ought to embody.
The Communitarian Critique
Charles Taylor, Alasdair Macintyre, Michael Sandel, and Michael Walzer all have posed formidable oppositions to Rawls' theory of justice throughout their careers, stimulating a large reactionary body of normative and critical scholarship.
The September Group
The late philosopher G.A. Cohen, along with political scientist Jon Elster, and John Roemer used Rawls' writings extensively to inaugurate the Analytical Marxism movement in the 1980s.
The Frankfurt School
In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years", just ahead of Jürgen Habermas, whose scholarly work he engaged with during the later part of his career (see Habermas-Rawls debate), and Michel Foucault. Habermas' reading of Rawls lead to an appreciation of Rawls' work and other analytical philosophers by the esteemed Frankfurt School of critical theory, and many of Habermas' own students and associates were expected to be familiar with Rawls by the late 1980s. Rainer Forst, who was described in 2012 as the "most important political philosopher of his generation" was advised both by Rawls and Habermas in completing his PhD. Axel Honneth, Fabian Freyenhagen, and James Gordon Finlayson have also drawn on Rawls' work in comparison to Habermas.
Feminist political philosophy
Philosopher Eva Kittay has extended the work of John Rawls to address the concerns of women and the cognitively disabled.
Awards and honors
Bronze Star for radio work behind enemy lines in World War II.
Ralph Waldo Emerson Award (1972)
Member of the Norwegian Academy of Science and Letters (1992)
Schock Prize for Logic and Philosophy (1999)
National Humanities Medal (1999)
Asteroid 16561 Rawls is named in his honor.
Musical
John Rawls is featured as the protagonist of A Theory of Justice: The Musical!, an award-nominated musical comedy, which premiered at Oxford in 2013 and was revived for the Edinburgh Fringe Festival.
Publications
Bibliography
A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Ph.D. dissertation, Princeton University, 1950.
A Theory of Justice. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1971. The revised edition of 1999 incorporates changes that Rawls made for translated editions of A Theory of Justice. Some Rawls scholars use the abbreviation TJ to refer to this work.
Political Liberalism. The John Dewey Essays in Philosophy, 4. New York: Columbia University Press, 1993. The hardback edition published in 1993 is not identical. The paperback adds a valuable new introduction and an essay titled "Reply to Habermas." Some Rawls scholars use the abbreviation PL to refer to this work.
The Law of Peoples: with "The Idea of Public Reason Revisited." Cambridge, Massachusetts: Harvard University Press, 1999. This slim book includes two works; a further development of his essay entitled "The Law of Peoples" and another entitled "Public Reason Revisited," both published earlier in his career.
Collected Papers. Cambridge, Massachusetts: Harvard University Press, 1999. This collection of shorter papers was edited by Samuel Freeman.
Lectures on the History of Moral Philosophy. Cambridge, Massachusetts, Harvard University Press, 2000. This collection of lectures was edited by Barbara Herman. It has an introduction on modern moral philosophy from 1600 to 1800 and then lectures on Hume, Leibniz, Kant and Hegel.
Justice as Fairness: A Restatement. Cambridge, Massachusetts: Belknap Press, 2001. This shorter summary of the main arguments of Rawls's political philosophy was edited by Erin Kelly. Many versions of this were circulated in typescript and much of the material was delivered by Rawls in lectures when he taught courses covering his own work at Harvard University.
Lectures on the History of Political Philosophy. Cambridge, Massachusetts: Harvard University Press, 2007. Collection of lectures on Thomas Hobbes, John Locke, Joseph Butler, Jean-Jacques Rousseau, David Hume, John Stuart Mill and Karl Marx, edited by Samuel Freeman.
A Brief Inquiry into the Meaning of Sin and Faith. Cambridge, Massachusetts, Harvard University Press, 2010. With introduction and commentary by Thomas Nagel, Joshua Cohen and Robert Merrihew Adams. Senior thesis, Princeton, 1942. This volume includes a brief late essay by Rawls entitled On My Religion.
Articles
"Outline of a Decision Procedure for Ethics." Philosophical Review (April 1951), 60 (2): 177–97.
"Two Concepts of Rules." Philosophical Review (January 1955), 64 (1):3–32.
"Justice as Fairness." Journal of Philosophy (October 24, 1957), 54 (22): 653–62.
"Justice as Fairness." Philosophical Review (April 1958), 67 (2): 164–94.
"The Sense of Justice." Philosophical Review (July 1963), 72 (3): 281–305.
"Constitutional Liberty and the Concept of Justice" Nomos VI (1963)
"Distributive Justice: Some Addenda." Natural Law Forum (1968), 13: 51–71.
"Reply to Lyons and Teitelman." Journal of Philosophy (October 5, 1972), 69 (18): 556–57.
"Reply to Alexander and Musgrave." Quarterly Journal of Economics (November 1974), 88 (4): 633–55.
"Some Reasons for the Maximin Criterion." American Economic Review (May 1974), 64 (2): 141–46.
"Fairness to Goodness." Philosophical Review (October 1975), 84 (4): 536–54.
"The Independence of Moral Theory." Proceedings and Addresses of the American Philosophical Association (November 1975), 48: 5–22.
"A Kantian Conception of Equality." Cambridge Review (February 1975), 96 (2225): 94–99.
"The Basic Structure as Subject." American Philosophical Quarterly (April 1977), 14 (2): 159–65.
"Kantian Constructivism in Moral Theory." Journal of Philosophy (September 1980), 77 (9): 515–72.
"Justice as Fairness: Political not Metaphysical." Philosophy & Public Affairs (Summer 1985), 14 (3): 223–51.
"The Idea of an Overlapping Consensus." Oxford Journal for Legal Studies (Spring 1987), 7 (1): 1–25.
"The Priority of Right and Ideas of the Good." Philosophy & Public Affairs (Fall 1988), 17 (4): 251–76.
"The Domain of the Political and Overlapping Consensus." New York University Law Review (May 1989), 64 (2): 233–55.
"Roderick Firth: His Life and Work." Philosophy and Phenomenological Research (March 1991), 51 (1): 109–18.
"The Law of Peoples." Critical Inquiry (Fall 1993), 20 (1): 36–68.
"Political Liberalism: Reply to Habermas." Journal of Philosophy (March 1995), 92 (3):132–80.
"The Idea of Public Reason Revisited." Chicago Law Review (1997), 64 (3): 765–807. [PRR]
Book chapters
"Constitutional Liberty and the Concept of Justice." In Carl J. Friedrich and John W. Chapman, eds., Nomos, VI: Justice, pp. 98–125. Yearbook of the American Society for Political and Legal Philosophy. New York: Atherton Press, 1963.
"Legal Obligation and the Duty of Fair Play." In Sidney Hook, ed., Law and Philosophy: A Symposium, pp. 3–18. New York: New York University Press, 1964. Proceedings of the 6th Annual New York University Institute of Philosophy.
"Distributive Justice." In Peter Laslett and W. G. Runciman, eds., Philosophy, Politics, and Society. Third Series, pp. 58–82. London: Blackwell; New York: Barnes & Noble, 1967.
"The Justification of Civil Disobedience." In Hugo Adam Bedau, ed., Civil Disobedience: Theory and Practice, pp. 240–55. New York: Pegasus Books, 1969.
"Justice as Reciprocity." In Samuel Gorovitz, ed., Utilitarianism: John Stuart Mill: With Critical Essays, pp. 242–68. New York: Bobbs-Merrill, 1971.
"Author's Note." In Thomas Schwartz, ed., Freedom and Authority: An Introduction to Social and Political Philosophy, p. 260. Encino & Belmont, California: Dickenson, 1973.
"Distributive Justice." In Edmund S. Phelps, ed., Economic Justice: Selected Readings, pp. 319–62. Penguin Modern Economics Readings. Harmondsworth & Baltimore: Penguin Books, 1973.
"Personal Communication, January 31, 1976." In Thomas Nagel's "The Justification of Equality." Critica (April 1978), 10 (28): 9n4.
"The Basic Liberties and Their Priority." In Sterling M. McMurrin, ed., The Tanner Lectures on Human Values, III (1982), pp. 1–87. Salt Lake City: University of Utah Press; Cambridge: Cambridge University Press, 1982.
"Social unity and primary goods" in
"Themes in Kant's Moral Philosophy." In Eckhart Forster, ed., Kant's Transcendental Deductions: The Three Critiques and the Opus postumum, pp. 81–113, 253–56. Stanford Series in Philosophy. Studies in Kant and German Idealism. Stanford, California: Stanford University Press, 1989.
Reviews
Review of Axel Hägerström's Inquiries into the Nature of Law and Morals (C.D. Broad, tr.). Mind (July 1955), 64 (255):421–22.
Review of Stephen Toulmin's An Examination of the Place of Reason in Ethics (1950). Philosophical Review (October 1951), 60 (4): 572–80.
Review of A. Vilhelm Lundstedt's Legal Thinking Revised. Cornell Law Quarterly (1959), 44: 169.
Review of Raymond Klibansky, ed., Philosophy in Mid-Century: A Survey. Philosophical Review (January 1961), 70 (1): 131–32.
Review of Richard B. Brandt, ed., Social Justice (1962). Philosophical Review (July 1965), 74(3): 406–09.
See also
Anarchy, State, and Utopia
List of American philosophers
List of liberal theorists
Philosophy of economics
A Theory of Justice: The Musical!
Notes
References
Freeman, S. (2007) Rawls (Routledge, Abingdon)
Freeman, Samuel (2009) "Original Position" (The Stanford Encyclopedia of Philosophy, Original Position)
Rawls, J. (1993/1996/2005) Political Liberalism (Columbia University Press, New York)
Rogers, B. (27.09.02) "Obituary: John Rawls" Obituary: John Rawls
Tampio, N. (2011) "A Defense of Political Constructivism" (Contemporary Political Theory, A defense of political constructivism)
Wenar, Leif (2008) "John Rawls" (The Stanford Encyclopedia of Philosophy, John Rawls)
External links
Audio recordings of Rawls' 1983 lecture course "Modern Political Philosophy"
Cambridge Rawls Lexicon
Internet Encyclopedia of Philosophy Entry on John Rawls by Henry S. Richardson
Internet Encyclopedia of Philosophy Entry on Political Constructivisim by Michael Buckley
Stanford Encyclopedia of Philosophy Entry on John Rawls by Leif Wenar
Stanford Encyclopedia of Philosophy Entry on Original Position by Fred D'Agostino
Stanford Encyclopedia of Philosophy Entry on Reflective Equilibrium by Norman Daniels
John Rawls on Google Scholar
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[
"The Rydberg–Ritz combination principle is an empirical generalization proposed by Walther Ritz in 1908 to describe the relationship of the spectral lines for all atoms. The principle states that the spectral lines of any element include frequencies that are either the sum or the difference of the frequencies of two other lines. Lines of the spectra of elements could be predicted from existing lines. Since the frequency of light is proportional to the wavenumber or reciprocal wavelength, the principle can also be expressed in terms of wavenumbers which are the sum or difference of wavenumbers of two other lines.\n\nAnother related version is that the wavenumber or reciprocal wavelength of each spectral line can be written as the difference of two terms. The simplest example is the hydrogen atom, described by the Rydberg formula\n\nwhere is the wavelength, is the Rydberg constant, and and are positive integers such that . This is the difference of two terms of form .\n\nRelation to quantum theory\nThe combination principle is explained using quantum theory. Light consists of photons whose energy E is proportional to the frequency ν and wavenumber of the light: E = hν = hc/λ (where h is the Planck constant, c is the speed of light, and λ is the wavelength. A combination of frequencies or wavenumbers is then equivalent to a combination of energies.\n\nAccording to the quantum theory of the hydrogen atom proposed by Niels Bohr in 1913, an atom can have only certain energy levels. Absorption or emission of a particle of light or photon corresponds to a transition between two possible energy levels, and the photon energy equals the difference between their two energies. On dividing by hc, the photon wavenumber equals the difference between two terms, each equal to an energy divided by hc or an energy in wavenumber units (cm–1). Energy levels of atoms and molecules are today described by term symbols which indicate their quantum numbers.\n\nAlso, a transition from an initial to a final energy level involves the same energy change whether it occurs in a single step or in two steps via an intermediate state. The energy of transition in a single step is the sum of the energies of transition in two steps: (E3 – E1) = (E2 – E1) + (E3 – E2). \n\nThe NIST database tables of lines of spectra contains observed lines and the lines calculated by use of the Ritz combination principle.\n\nHistory\nThe spectral lines of hydrogen had been analyzed and found to have a mathematical relationship in the Balmer series. This was later extended to a general formula called the Rydberg formula. This could only be applied to hydrogen-like atoms. In 1908 Ritz derived a relationship that could be applied to all atoms. This principle, the Rydberg–Ritz combination principle, is used today in identifying the transition lines of atoms.\n\nReferences\n\nExternal links\n \n\nEmission spectroscopy",
"In welfare economics, the compensation principle refers to a decision rule used to select between pairs of alternative feasible social states. One of these states is the hypothetical point of departure (\"the original state\"). According to the compensation principle, if the prospective gainers could compensate (any) prospective losers and leave no one worse off, the alternate state is to be selected (Chipman, 1987, p. 524). An example of a compensation principle is the Pareto criterion in which a change in states entails that such compensation is not merely feasible but required. Two variants are:\n the Pareto principle, which requires any change such that all gain. \n the (strong) Pareto criterion, which requires any change such that at least one gains and no one loses from the change. \nIn non-hypothetical contexts such that the compensation occurs (say in the marketplace), invoking the compensation principle is unnecessary to effect the change. But its use is more controversial and complex with some losers (where full compensation is feasible but not made) and in selecting among more than two feasible social states. In its specifics, it is also more controversial where the range of the decision rule itself is at issue.\n\nUses for the compensation principle include:\n comparisons between the welfare properties of perfect competition and imperfect competition \n the Pareto principle in social choice theory\n cost–benefit analysis.\n\nSee also\n\n Compensating variation\n Cost–benefit analysis\n Kaldor–Hicks efficiency\n Pareto efficiency\n Social choice theory\n Welfare economics\n Theory of Second Best\n\nReferences\n John S. Chipman ([1987] 2008). “compensation principle,\" The New Palgrave Dictionary of Economics, 2nd Edition. Abstract.\n Kenneth J. Arrow (1963). Social Choice and Individual Values, ch. IV. \n Louis Kaplow (2008). \"Pareto principle and competing principles,\" The New Palgrave Dictionary of Economics, 2nd Edition, Abstract.\n Dehez, P., & Tellone, D. (2013). Data games: Sharing public goods with exclusion. Journal of Public Economic Theory, 15(4), 654-673.\n\nWelfare economics"
] |
[
"John Rawls",
"Principles of justice",
"What is the Principles of justice?",
"The first of these is the Liberty Principle,",
"What is the Liberty Principle?",
"establishes equal basic liberties for all citizens.",
"What is another principle?",
"a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle.",
"Why is the difference principle controversial?",
"I don't know."
] |
C_fbdc972b162d4afc9a73b6e6d63c5bb1_1
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What is the Fair Equality of Opportunity principle?
| 5 |
What is the Fair Equality of Opportunity principle?
|
John Rawls
|
Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick). Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged. Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers. Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice". In this respect, he understood justice as fairness as a contribution to "ideal theory", the determination of "principles that characterize a well-ordered society under favorable circumstances". Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory". CANNOTANSWER
|
wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals.
|
John Bordley Rawls (; February 21, 1921 – November 24, 2002) was an American moral and political philosopher in the liberal tradition. Rawls received both the Schock Prize for Logic and Philosophy and the National Humanities Medal in 1999, the latter presented by President Bill Clinton, in recognition of how Rawls's work "revived the disciplines of political and ethical philosophy with his argument that a society in which the most fortunate help the least fortunate is not only a moral society but a logical one".
In 1990, Will Kymlicka wrote in his introduction to the field that "it is generally accepted that the recent rebirth of normative political philosophy began with the publication of John Rawls's A Theory of Justice in 1971". Rawls has often been described as one of the most influential political philosophers of the 20th century. He has the unusual distinction among contemporary political philosophers of being frequently cited by the courts of law in the United States and Canada and referred to by practising politicians in the United States and the United Kingdom. In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years".
Rawls's theory of "justice as fairness" recommends equal basic liberties, equality of opportunity, and facilitating the maximum benefit to the least advantaged members of society in any case where inequalities may occur. Rawls's argument for these principles of social justice uses a thought experiment called the "original position", in which people deliberately select what kind of society they would choose to live in if they did not know which social position they would personally occupy. In his later work Political Liberalism (1993), Rawls turned to the question of how political power could be made legitimate given reasonable disagreement about the nature of the good life.
Biography
Early life
Rawls was born in Baltimore, Maryland. He was the second of five sons born to William Lee Rawls, a prominent Baltimore attorney, and Anna Abell Stump Rawls. Tragedy struck Rawls at a young age:
Two of his brothers died in childhood because they had contracted fatal illnesses from him. ... In 1928, the seven-year-old Rawls contracted diphtheria. His brother Bobby, younger by 20 months, visited him in his room and was fatally infected. The next winter, Rawls contracted pneumonia. Another younger brother, Tommy, caught the illness from him and died.
Rawls's biographer Thomas Pogge calls the loss of the brothers the "most important events in John's childhood."
Rawls graduated from the Calvert School in Baltimore before enrolling in the Kent School, an Episcopalian preparatory school in Connecticut. Upon graduation in 1939, Rawls attended Princeton University, where he was accepted into The Ivy Club and the American Whig-Cliosophic Society. At Princeton, Rawls was influenced by Norman Malcolm, Ludwig Wittgenstein's student. During his last two years at Princeton, he "became deeply concerned with theology and its doctrines." He considered attending a seminary to study for the Episcopal priesthood and wrote an "intensely religious senior thesis (BI)." In his 181-page long thesis titled "Meaning of Sin and Faith," Rawls attacked Pelagianism because it "would render the Cross of Christ to no effect." His argument was partly drawn from Karl Marx's book On the Jewish Question, which criticized the idea that natural inequality in ability could be a just determiner of the distribution of wealth in society. Even after Rawls became an atheist, many of the anti-Pelagian arguments he used were repeated in A Theory of Justice. Rawls graduated from Princeton in 1943 with a Bachelor of Arts summa cum laude.
Military service, 1943–46
Rawls enlisted in the U.S. Army in February 1943. During World War II, Rawls served as an infantryman in the Pacific, where he served a tour of duty in New Guinea and was awarded a Bronze Star; and the Philippines, where he endured intensive trench warfare and witnessed traumatizing scenes of violence and bloodshed. It was there that he lost his Christian faith and became an atheist.
Following the surrender of Japan, Rawls became part of General MacArthur's occupying army and was promoted to sergeant. But he became disillusioned with the military when he saw the aftermath of the atomic blast in Hiroshima. Rawls then disobeyed an order to discipline a fellow soldier, "believing no punishment was justified," and was "demoted back to a private." Disenchanted, he left the military in January 1946.
Academic career
In early 1946, Rawls returned to Princeton to pursue a doctorate in moral philosophy. He married Margaret Warfield Fox, a Brown University graduate, in 1949. They had four children, Anne Warfield, Robert Lee, Alexander Emory, and Elizabeth Fox.
Rawls received his Ph.D. from Princeton in 1950 after completing a doctoral dissertation titled A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Rawls taught there until 1952 when he received a Fulbright Fellowship to Oxford University (Christ Church), where he was influenced by the liberal political theorist and historian Isaiah Berlin and the legal theorist H. L. A. Hart. After returning to the United States he served first as an assistant and then associate professor at Cornell University. In 1962, he became a full professor of philosophy at Cornell, and soon achieved a tenured position at MIT. That same year, he moved to Harvard University, where he taught for almost forty years and where he trained some of the leading contemporary figures in moral and political philosophy, including Sibyl-A-Schwarzenbach, Thomas Nagel, Allan Gibbard, Onora O'Neill, Adrian Piper, Arnold Davidson, Elizabeth S. Anderson, Christine Korsgaard, Susan Neiman, Claudia Card, Rainer Forst, Thomas Pogge, T. M. Scanlon, Barbara Herman, Joshua Cohen, Thomas E. Hill Jr., Gurcharan Das, Andreas Teuber, Samuel Freeman and Paul Weithman. He held the James Bryant Conant University Professorship at Harvard.
Later life
Rawls seldom gave interviews and, having both a stutter (partially caused by the deaths of two of his brothers, who died through infections contracted from Rawls) and a "bat-like horror of the limelight," did not become a public intellectual despite his fame. He instead remained committed mainly to his academic and family life.
In 1995, he suffered the first of several strokes, severely impeding his ability to continue to work. He was nevertheless able to complete The Law of Peoples, the most complete statement of his views on international justice, and published in 2001 shortly before his death Justice As Fairness: A Restatement, a response to criticisms of A Theory of Justice. Rawls died on November 24, 2002, at age 81, and was buried at the Mount Auburn Cemetery in Massachusetts. He was survived by his wife, Mard Rawls, and their four children, and four grandchildren.
Philosophical thought
Rawls published three main books. The first, A Theory of Justice, focused on distributive justice and attempted to reconcile the competing claims of the values of freedom and equality. The second, Political Liberalism, addressed the question of how citizens divided by intractable religious and philosophical disagreements could come to endorse a constitutional democratic regime. The third, The Law of Peoples, focused on the issue of global justice.
A Theory of Justice
A Theory of Justice, published in 1971, aimed to resolve the seemingly competing claims of freedom and equality. The shape Rawls's resolution took, however, was not that of a balancing act that compromised or weakened the moral claim of one value compared with the other. Rather, his intent was to show that notions of freedom and equality could be integrated into a seamless unity he called justice as fairness. By attempting to enhance the perspective which his readers should take when thinking about justice, Rawls hoped to show the supposed conflict between freedom and equality to be illusory.
Rawls's A Theory of Justice (1971) includes a thought experiment he called the "original position." The intuition motivating its employment is this: the enterprise of political philosophy will be greatly benefited by a specification of the correct standpoint a person should take in his or her thinking about justice. When we think about what it would mean for a just state of affairs to obtain between persons, we eliminate certain features (such as hair or eye color, height, race, etc.) and fixate upon others. Rawls's original position is meant to encode all of our intuitions about which features are relevant, and which irrelevant, for the purposes of deliberating well about justice.
The original position is Rawls' hypothetical scenario in which a group of persons is set the task of reaching an agreement about the kind of political and economic structure they want for a society, which they will then occupy. Each individual, however, deliberates behind a "veil of ignorance": each lacks knowledge, for example, of his or her gender, race, age, intelligence, wealth, skills, education and religion. The only thing that a given member knows about themselves is that they are in possession of the basic capacities necessary to fully and wilfully participate in an enduring system of mutual cooperation; each knows they can be a member of the society.
Rawls posits two basic capacities that the individuals would know themselves to possess. First, individuals know that they have the capacity to form, pursue and revise a conception of the good, or life plan. Exactly what sort of conception of the good this is, however, the individual does not yet know. It may be, for example, religious or secular, but at the start, the individual in the original position does not know which. Second, each individual understands him or herself to have the capacity to develop a sense of justice and a generally effective desire to abide by it. Knowing only these two features of themselves, the group will deliberate in order to design a social structure, during which each person will seek his or her maximal advantage. The idea is that proposals that we would ordinarily think of as unjust – such as that black people or women should not be allowed to hold public office – will not be proposed, in this, Rawls' original position, because it would be irrational to propose them. The reason is simple: one does not know whether he himself would be a woman or a black person. This position is expressed in the difference principle, according to which, in a system of ignorance about one's status, one would strive to improve the position of the worst off, because he might find himself in that position.
Rawls develops his original position by modelling it, in certain respects at least, after the "initial situations" of various social contract thinkers who came before him, including Thomas Hobbes, John Locke and Jean-Jacques Rousseau. Each social contractarian constructs his/her initial situation somewhat differently, having in mind a unique political morality s/he intends the thought experiment to generate. Iain King has suggested the original position draws on Rawls' experiences in post-war Japan, where the US Army was challenged with designing new social and political authorities for the country, while "imagining away all that had gone before."
In social justice processes, each person early on makes decisions about which features of persons to consider and which to ignore. Rawls's aspiration is to have created a thought experiment whereby a version of that process is carried to its completion, illuminating the correct standpoint a person should take in his or her thinking about justice. If he has succeeded, then the original position thought experiment may function as a full specification of the moral standpoint we should attempt to achieve when deliberating about social justice.
In setting out his theory, Rawls described his method as one of "reflective equilibrium," a concept which has since been used in other areas of philosophy. Reflective equilibrium is achieved by mutually adjusting one's general principles and one's considered judgements on particular cases, to bring the two into line with one another.
Principles of justice
Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick).
Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged.
Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls’ theory of justice stakes out the task of equalizing the distribution of primary social goods to those least advantaged in society and thus may be seen as a largely political answer to the question of justice, with matters of morality somewhat conflated into a political account of justice and just institutions. Relational approaches to the question of justice, by contrast, seek to examine the connections between individuals and focuses on their relations in societies, with respect to how these relationships are established and configured.
Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers.
Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice." In this respect, he understood justice as fairness as a contribution to "ideal theory," the determination of "principles that characterize a well-ordered society under favorable circumstances." Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory."
Political Liberalism
In Political Liberalism (1993), Rawls turned towards the question of political legitimacy in the context of intractable philosophical, religious, and moral disagreement amongst citizens regarding the human good. Such disagreement, he insisted, was reasonable – the result of the free exercise of human rationality under the conditions of open enquiry and free conscience that the liberal state is designed to safeguard. The question of legitimacy in the face of reasonable disagreement was urgent for Rawls because his own justification of Justice as Fairness relied upon a Kantian conception of the human good that can be reasonably rejected. If the political conception offered in A Theory of Justice can only be shown to be good by invoking a controversial conception of human flourishing, it is unclear how a liberal state ordered according to it could possibly be legitimate.
The intuition animating this seemingly new concern is actually no different from the guiding idea of A Theory of Justice, namely that the fundamental charter of a society must rely only on principles, arguments and reasons that cannot be reasonably rejected by the citizens whose lives will be limited by its social, legal, and political circumscriptions. In other words, the legitimacy of a law is contingent upon its justification being impossible to reasonably reject. This old insight took on a new shape, however, when Rawls realized that its application must extend to the deep justification of Justice as Fairness itself, which he had presented in terms of a reasonably rejectable (Kantian) conception of human flourishing as the free development of autonomous moral agency.
The core of Political Liberalism, accordingly, is its insistence that, in order to retain its legitimacy, the liberal state must commit itself to the "ideal of public reason." This roughly means that citizens in their public capacity must engage one another only in terms of reasons whose status as reasons is shared between them. Political reasoning, then, is to proceed purely in terms of "public reasons." For example: a Supreme Court justice deliberating on whether or not the denial to homosexuals of the ability to marry constitutes a violation of the 14th Amendment's Equal Protection Clause may not advert to his religious convictions on the matter, but he may take into account the argument that a same-sex household provides sub-optimal conditions for a child's development. This is because reasons based upon the interpretation of sacred text are non-public (their force as reasons relies upon faith commitments that can be reasonably rejected), whereas reasons that rely upon the value of providing children with environments in which they may develop optimally are public reasons – their status as reasons draws upon no deep, controversial conception of human flourishing.
Rawls held that the duty of civility – the duty of citizens to offer one another reasons that are mutually understood as reasons – applies within what he called the "public political forum." This forum extends from the upper reaches of government – for example the supreme legislative and judicial bodies of the society – all the way down to the deliberations of a citizen deciding for whom to vote in state legislatures or how to vote in public referenda. Campaigning politicians should also, he believed, refrain from pandering to the non-public religious or moral convictions of their constituencies.
The ideal of public reason secures the dominance of the public political values – freedom, equality, and fairness – that serve as the foundation of the liberal state. But what about the justification of these values? Since any such justification would necessarily draw upon deep (religious or moral) metaphysical commitments which would be reasonably rejectable, Rawls held that the public political values may only be justified privately by individual citizens. The public liberal political conception and its attendant values may and will be affirmed publicly (in judicial opinions and presidential addresses, for example) but its deep justifications will not. The task of justification falls to what Rawls called the "reasonable comprehensive doctrines" and the citizens who subscribe to them. A reasonable Catholic will justify the liberal values one way, a reasonable Muslim another, and a reasonable secular citizen yet another way. One may illustrate Rawls's idea using a Venn diagram: the public political values will be the shared space upon which overlap numerous reasonable comprehensive doctrines. Rawls's account of stability presented in A Theory of Justice is a detailed portrait of the compatibility of one – Kantian – comprehensive doctrine with justice as fairness. His hope is that similar accounts may be presented for many other comprehensive doctrines. This is Rawls's famous notion of an "overlapping consensus."
Such a consensus would necessarily exclude some doctrines, namely, those that are "unreasonable," and so one may wonder what Rawls has to say about such doctrines. An unreasonable comprehensive doctrine is unreasonable in the sense that it is incompatible with the duty of civility. This is simply another way of saying that an unreasonable doctrine is incompatible with the fundamental political values a liberal theory of justice is designed to safeguard – freedom, equality and fairness. So one answer to the question of what Rawls has to say about such doctrines is – nothing. For one thing, the liberal state cannot justify itself to individuals (such as religious fundamentalists) who hold to such doctrines, because any such justification would – as has been noted – proceed in terms of controversial moral or religious commitments that are excluded from the public political forum. But, more importantly, the goal of the Rawlsian project is primarily to determine whether or not the liberal conception of political legitimacy is internally coherent, and this project is carried out by the specification of what sorts of reasons persons committed to liberal values are permitted to use in their dialogue, deliberations and arguments with one another about political matters. The Rawlsian project has this goal to the exclusion of concern with justifying liberal values to those not already committed – or at least open – to them. Rawls's concern is with whether or not the idea of political legitimacy fleshed out in terms of the duty of civility and mutual justification can serve as a viable form of public discourse in the face of the religious and moral pluralism of modern democratic society, not with justifying this conception of political legitimacy in the first place.
Rawls also modified the principles of justice as follows (with the first principle having priority over the second, and the first half of the second having priority over the latter half):
Each person has an equal claim to a fully adequate scheme of basic rights and liberties, which scheme is compatible with the same scheme for all; and in this scheme the equal political liberties, and only those liberties, are to be guaranteed their fair value.
Social and economic inequalities are to satisfy two conditions: first, they are to be attached to positions and offices open to all under conditions of fair equality of opportunity; and second, they are to be to the greatest benefit of the least advantaged members of society.
These principles are subtly modified from the principles in Theory. The first principle now reads "equal claim" instead of "equal right," and he also replaces the phrase "system of basic liberties" with "a fully adequate scheme of equal basic rights and liberties." The two parts of the second principle are also switched, so that the difference principle becomes the latter of the three.
The Law of Peoples
Although there were passing comments on international affairs in A Theory of Justice, it was not until late in his career that Rawls formulated a comprehensive theory of international politics with the publication of The Law of Peoples. He claimed there that "well-ordered" peoples could be either "liberal" or "decent." Rawls's basic distinction in international politics is that his preferred emphasis on a society of peoples is separate from the more conventional and historical discussion of international politics as based on relationships between states.
Rawls argued that the legitimacy of a liberal international order is contingent on tolerating decent peoples, which differ from liberal peoples, among other ways, in that they might have state religions and deny adherents of minority faiths the right to hold positions of power within the state, and might organize political participation via consultation hierarchies rather than elections. However, no well-ordered peoples may violate human rights or behave in an externally aggressive manner. Peoples that fail to meet the criteria of "liberal" or "decent" peoples are referred to as 'outlaw states,' 'societies burdened by unfavourable conditions' or "benevolent absolutisms' depending on their particular failings. Such peoples do not have the right to mutual respect and toleration possessed by liberal and decent peoples.
Rawls's views on global distributive justice as they were expressed in this work surprised many of his fellow egalitarian liberals. For example, Charles Beitz had previously written a study that argued for the application of Rawls's Difference Principles globally. Rawls denied that his principles should be so applied, partly on the grounds that a world state does not exist and would not be stable. This notion has been challenged, as a comprehensive system of global governance has arisen, amongst others in the form of the Bretton Woods system, that serves to distribute primary social goods between human beings. It has thus been argued that a cosmopolitan application of the theory of justice as fairness is the more reasonable alternative to the application of The Law of Peoples, as it would be more legitimate towards all persons over whom political coercive power is exercised.
According to Rawls however, nation states, unlike citizens, were self-sufficient in the cooperative enterprises that constitute domestic societies. Although Rawls recognized that aid should be given to governments which are unable to protect human rights for economic reasons, he claimed that the purpose for this aid is not to achieve an eventual state of global equality, but rather only to ensure that these societies could maintain liberal or decent political institutions. He argued, among other things, that continuing to give aid indefinitely would see nations with industrious populations subsidize those with idle populations and would create a moral hazard problem where governments could spend irresponsibly in the knowledge that they will be bailed out by those nations who had spent responsibly.
Rawls's discussion of "non-ideal" theory, on the other hand, included a condemnation of bombing civilians and of the American bombing of German and Japanese cities in World War II, as well as discussions of immigration and nuclear proliferation. He also detailed here the ideal of the statesman, a political leader who looks to the next generation and promotes international harmony, even in the face of significant domestic pressure to act otherwise. Rawls also controversially claimed that violations of human rights can legitimize military intervention in the violating states, though he also expressed the hope that such societies could be induced to reform peacefully by the good example of liberal and decent peoples.
Influence and reception
Despite the exacting, academic tone of Rawls' writing and his reclusive personality, his philosophical work has exerted an enormous impact on not only contemporary moral and political philosophy but also public political discourse. During the student protests at Tiananmen Square in 1989, copies of "A Theory of Justice" were brandished by protesters in the face of government officials. Despite being approximately 600 pages long, over 300,000 copies of that book have been sold, stimulating critical responses from utilitarian, feminist, conservative, libertarian, Catholic, communitarian, Marxist and Green scholars, which Rawls welcomed.
Although having a profound influence on theories of distributive justice both in theory and in practice, the generally anti-meritocratic sentiment of Rawls' thinking has not been widely accepted by the political left. He consistently held the view that naturally developed skills and endowments could not be neatly distinguished from inherited ones, and that neither could be used to justify moral desert. Instead, he held the view that individuals could "legitimately expect" entitlements to the earning of income or development of abilities based on institutional arrangements. This aspect of Rawls' work has been instrumental in the development of such ideas as luck egalitarianism and unconditional basic income, which have themselves been criticized. The strictly egalitarian quality of Rawls' second principle of justice has called into question the type of equality that fair societies ought to embody.
The Communitarian Critique
Charles Taylor, Alasdair Macintyre, Michael Sandel, and Michael Walzer all have posed formidable oppositions to Rawls' theory of justice throughout their careers, stimulating a large reactionary body of normative and critical scholarship.
The September Group
The late philosopher G.A. Cohen, along with political scientist Jon Elster, and John Roemer used Rawls' writings extensively to inaugurate the Analytical Marxism movement in the 1980s.
The Frankfurt School
In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years", just ahead of Jürgen Habermas, whose scholarly work he engaged with during the later part of his career (see Habermas-Rawls debate), and Michel Foucault. Habermas' reading of Rawls lead to an appreciation of Rawls' work and other analytical philosophers by the esteemed Frankfurt School of critical theory, and many of Habermas' own students and associates were expected to be familiar with Rawls by the late 1980s. Rainer Forst, who was described in 2012 as the "most important political philosopher of his generation" was advised both by Rawls and Habermas in completing his PhD. Axel Honneth, Fabian Freyenhagen, and James Gordon Finlayson have also drawn on Rawls' work in comparison to Habermas.
Feminist political philosophy
Philosopher Eva Kittay has extended the work of John Rawls to address the concerns of women and the cognitively disabled.
Awards and honors
Bronze Star for radio work behind enemy lines in World War II.
Ralph Waldo Emerson Award (1972)
Member of the Norwegian Academy of Science and Letters (1992)
Schock Prize for Logic and Philosophy (1999)
National Humanities Medal (1999)
Asteroid 16561 Rawls is named in his honor.
Musical
John Rawls is featured as the protagonist of A Theory of Justice: The Musical!, an award-nominated musical comedy, which premiered at Oxford in 2013 and was revived for the Edinburgh Fringe Festival.
Publications
Bibliography
A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Ph.D. dissertation, Princeton University, 1950.
A Theory of Justice. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1971. The revised edition of 1999 incorporates changes that Rawls made for translated editions of A Theory of Justice. Some Rawls scholars use the abbreviation TJ to refer to this work.
Political Liberalism. The John Dewey Essays in Philosophy, 4. New York: Columbia University Press, 1993. The hardback edition published in 1993 is not identical. The paperback adds a valuable new introduction and an essay titled "Reply to Habermas." Some Rawls scholars use the abbreviation PL to refer to this work.
The Law of Peoples: with "The Idea of Public Reason Revisited." Cambridge, Massachusetts: Harvard University Press, 1999. This slim book includes two works; a further development of his essay entitled "The Law of Peoples" and another entitled "Public Reason Revisited," both published earlier in his career.
Collected Papers. Cambridge, Massachusetts: Harvard University Press, 1999. This collection of shorter papers was edited by Samuel Freeman.
Lectures on the History of Moral Philosophy. Cambridge, Massachusetts, Harvard University Press, 2000. This collection of lectures was edited by Barbara Herman. It has an introduction on modern moral philosophy from 1600 to 1800 and then lectures on Hume, Leibniz, Kant and Hegel.
Justice as Fairness: A Restatement. Cambridge, Massachusetts: Belknap Press, 2001. This shorter summary of the main arguments of Rawls's political philosophy was edited by Erin Kelly. Many versions of this were circulated in typescript and much of the material was delivered by Rawls in lectures when he taught courses covering his own work at Harvard University.
Lectures on the History of Political Philosophy. Cambridge, Massachusetts: Harvard University Press, 2007. Collection of lectures on Thomas Hobbes, John Locke, Joseph Butler, Jean-Jacques Rousseau, David Hume, John Stuart Mill and Karl Marx, edited by Samuel Freeman.
A Brief Inquiry into the Meaning of Sin and Faith. Cambridge, Massachusetts, Harvard University Press, 2010. With introduction and commentary by Thomas Nagel, Joshua Cohen and Robert Merrihew Adams. Senior thesis, Princeton, 1942. This volume includes a brief late essay by Rawls entitled On My Religion.
Articles
"Outline of a Decision Procedure for Ethics." Philosophical Review (April 1951), 60 (2): 177–97.
"Two Concepts of Rules." Philosophical Review (January 1955), 64 (1):3–32.
"Justice as Fairness." Journal of Philosophy (October 24, 1957), 54 (22): 653–62.
"Justice as Fairness." Philosophical Review (April 1958), 67 (2): 164–94.
"The Sense of Justice." Philosophical Review (July 1963), 72 (3): 281–305.
"Constitutional Liberty and the Concept of Justice" Nomos VI (1963)
"Distributive Justice: Some Addenda." Natural Law Forum (1968), 13: 51–71.
"Reply to Lyons and Teitelman." Journal of Philosophy (October 5, 1972), 69 (18): 556–57.
"Reply to Alexander and Musgrave." Quarterly Journal of Economics (November 1974), 88 (4): 633–55.
"Some Reasons for the Maximin Criterion." American Economic Review (May 1974), 64 (2): 141–46.
"Fairness to Goodness." Philosophical Review (October 1975), 84 (4): 536–54.
"The Independence of Moral Theory." Proceedings and Addresses of the American Philosophical Association (November 1975), 48: 5–22.
"A Kantian Conception of Equality." Cambridge Review (February 1975), 96 (2225): 94–99.
"The Basic Structure as Subject." American Philosophical Quarterly (April 1977), 14 (2): 159–65.
"Kantian Constructivism in Moral Theory." Journal of Philosophy (September 1980), 77 (9): 515–72.
"Justice as Fairness: Political not Metaphysical." Philosophy & Public Affairs (Summer 1985), 14 (3): 223–51.
"The Idea of an Overlapping Consensus." Oxford Journal for Legal Studies (Spring 1987), 7 (1): 1–25.
"The Priority of Right and Ideas of the Good." Philosophy & Public Affairs (Fall 1988), 17 (4): 251–76.
"The Domain of the Political and Overlapping Consensus." New York University Law Review (May 1989), 64 (2): 233–55.
"Roderick Firth: His Life and Work." Philosophy and Phenomenological Research (March 1991), 51 (1): 109–18.
"The Law of Peoples." Critical Inquiry (Fall 1993), 20 (1): 36–68.
"Political Liberalism: Reply to Habermas." Journal of Philosophy (March 1995), 92 (3):132–80.
"The Idea of Public Reason Revisited." Chicago Law Review (1997), 64 (3): 765–807. [PRR]
Book chapters
"Constitutional Liberty and the Concept of Justice." In Carl J. Friedrich and John W. Chapman, eds., Nomos, VI: Justice, pp. 98–125. Yearbook of the American Society for Political and Legal Philosophy. New York: Atherton Press, 1963.
"Legal Obligation and the Duty of Fair Play." In Sidney Hook, ed., Law and Philosophy: A Symposium, pp. 3–18. New York: New York University Press, 1964. Proceedings of the 6th Annual New York University Institute of Philosophy.
"Distributive Justice." In Peter Laslett and W. G. Runciman, eds., Philosophy, Politics, and Society. Third Series, pp. 58–82. London: Blackwell; New York: Barnes & Noble, 1967.
"The Justification of Civil Disobedience." In Hugo Adam Bedau, ed., Civil Disobedience: Theory and Practice, pp. 240–55. New York: Pegasus Books, 1969.
"Justice as Reciprocity." In Samuel Gorovitz, ed., Utilitarianism: John Stuart Mill: With Critical Essays, pp. 242–68. New York: Bobbs-Merrill, 1971.
"Author's Note." In Thomas Schwartz, ed., Freedom and Authority: An Introduction to Social and Political Philosophy, p. 260. Encino & Belmont, California: Dickenson, 1973.
"Distributive Justice." In Edmund S. Phelps, ed., Economic Justice: Selected Readings, pp. 319–62. Penguin Modern Economics Readings. Harmondsworth & Baltimore: Penguin Books, 1973.
"Personal Communication, January 31, 1976." In Thomas Nagel's "The Justification of Equality." Critica (April 1978), 10 (28): 9n4.
"The Basic Liberties and Their Priority." In Sterling M. McMurrin, ed., The Tanner Lectures on Human Values, III (1982), pp. 1–87. Salt Lake City: University of Utah Press; Cambridge: Cambridge University Press, 1982.
"Social unity and primary goods" in
"Themes in Kant's Moral Philosophy." In Eckhart Forster, ed., Kant's Transcendental Deductions: The Three Critiques and the Opus postumum, pp. 81–113, 253–56. Stanford Series in Philosophy. Studies in Kant and German Idealism. Stanford, California: Stanford University Press, 1989.
Reviews
Review of Axel Hägerström's Inquiries into the Nature of Law and Morals (C.D. Broad, tr.). Mind (July 1955), 64 (255):421–22.
Review of Stephen Toulmin's An Examination of the Place of Reason in Ethics (1950). Philosophical Review (October 1951), 60 (4): 572–80.
Review of A. Vilhelm Lundstedt's Legal Thinking Revised. Cornell Law Quarterly (1959), 44: 169.
Review of Raymond Klibansky, ed., Philosophy in Mid-Century: A Survey. Philosophical Review (January 1961), 70 (1): 131–32.
Review of Richard B. Brandt, ed., Social Justice (1962). Philosophical Review (July 1965), 74(3): 406–09.
See also
Anarchy, State, and Utopia
List of American philosophers
List of liberal theorists
Philosophy of economics
A Theory of Justice: The Musical!
Notes
References
Freeman, S. (2007) Rawls (Routledge, Abingdon)
Freeman, Samuel (2009) "Original Position" (The Stanford Encyclopedia of Philosophy, Original Position)
Rawls, J. (1993/1996/2005) Political Liberalism (Columbia University Press, New York)
Rogers, B. (27.09.02) "Obituary: John Rawls" Obituary: John Rawls
Tampio, N. (2011) "A Defense of Political Constructivism" (Contemporary Political Theory, A defense of political constructivism)
Wenar, Leif (2008) "John Rawls" (The Stanford Encyclopedia of Philosophy, John Rawls)
External links
Audio recordings of Rawls' 1983 lecture course "Modern Political Philosophy"
Cambridge Rawls Lexicon
Internet Encyclopedia of Philosophy Entry on John Rawls by Henry S. Richardson
Internet Encyclopedia of Philosophy Entry on Political Constructivisim by Michael Buckley
Stanford Encyclopedia of Philosophy Entry on John Rawls by Leif Wenar
Stanford Encyclopedia of Philosophy Entry on Original Position by Fred D'Agostino
Stanford Encyclopedia of Philosophy Entry on Reflective Equilibrium by Norman Daniels
John Rawls on Google Scholar
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"\"Justice as Fairness: Political not Metaphysical\" is an essay by John Rawls, published in 1985. In it he describes his conception of justice. It comprises two main principles of liberty and equality; the second is subdivided into Fair Equality of Opportunity and the Difference Principle.\n\nRawls arranges the principles in 'lexical priority', prioritising in the order of the Liberty Principle, Fair Equality of Opportunity and the Difference Principle. This order determines the priorities of the principles if they conflict in practice. The principles are, however, intended as a single, comprehensive conception of justice—'Justice as Fairness'—and not to function individually. These principles are always applied so as to ensure that the \"least advantaged\" are benefitted and not hurt or forgotten.\n\nRawls originally presented the theory in his 1971 book A Theory of Justice, subsequently expanding upon several of its themes in his later book titled Political Liberalism.\n\nFirst principle: the liberty principle\nThe first and most important principle is that everyone has the same rights as fundamental freedoms. Rawls argued that \"certain rights and freedoms are more important or fundamental \"than others.\" For example, Samuel Freeman argues, Rawls believes that \"personal property\"—personal belongings, a home—constitutes a basic liberty, but an absolute right to unlimited private property is not. As a fundamental freedom, these rights are inviolable. The government must not alter, violate or remove such rights from individuals. Thomas Mertens says Rawls believes that the principles of society are chosen by representative citizens on \"fair\" terms.\n\nRawls articulates the Liberty Principle as the most extensive basic liberty compatible with similar liberty for others in A Theory of Justice; he later amended this in Political Liberalism, stating instead that \"each person has an equal claim to a fully adequate scheme of equal basic rights and liberties\".\n\nSecond principle: the equality principle\nThe principle is part of justice that established distributive justice. Rawls awards the Fair Equality of Opportunity Principle lexical priority over the Difference Principle: Society cannot adjust inequality to maximize the proportion of those who are most vulnerable without providing positions and the opportunities that are necessary for the worse-off to achieve them.\n\nFair equality of opportunity\nThis principle maintains that \"offices and positions\" have to open to all, regardless of their social background, caste or gender. This principle is stronger than the 'Formal Equality of Opportunity'. Rawls argues that human potential should not only be a 'right', but also an 'effective' equal opportunity.\n\nDifference principle\nThe Difference Principle regulates inequalities: it permits only inequalities that work to the advantage of the worst-off. This is often misinterpreted as trickle-down economics; Rawls' argument is more accurately expressed as a system where wealth \"diffuses up\". By guaranteeing the worst-off in society a fair deal, Rawls compensates for naturally occurring inequalities (talents that one is born with, such as a capacity for sport).\n\nRawls justifies the Difference Principle on the basis that, since Fair Equality of Opportunity has lexical priority, the Just choice from Pareto optimal scenarios which could occur would be that benefiting the worst-off rather than the best-off.\n\nOriginal position\n\nA key component of Rawls' argument is his claim that his Principles of Justice would be chosen by parties in the original position. This is a thought experiment in which the parties select principles that will determine the basic structure of the society they will live in. This choice is made from behind a veil of ignorance, which would deprive participants of information about their particular characteristics: his or her ethnicity, social status, gender and, crucially, their conception of the good. This forces participants to select principles impartially and rationally.\n\nSee also\nJustice as Fairness: A Restatement\n\nNotes\n\nReferences\n Avineri, S. and de-Shalit, A. (ed.) (1992) Communitarianism and Individualism (Oxford University Press)\n Freeman, S. (2007) Rawls (Routledge, Abingdon)\n Freeman, S. (2009) \"Original Position\" (The Stanford Encyclopedia of Philosophy, http://plato.stanford.edu/archives/spr2009/entries/original-position)\n Rawls, J. () Political Liberalism (Columbia University Press, New York)\n Rawls, J. () A Theory of Justice (Harvard University Press, Cambridge MA)\n Wenar, Leif (2008) \"John Rawls\" (The Stanford Encyclopedia of Philosophy, http://plato.stanford.edu/archives/fall2008/entries/rawls/)\n\n1985 essays\nBooks in political philosophy\nConcepts in ethics\nConcepts in political philosophy\nConcepts in social philosophy\nContemporary philosophical literature\nEgalitarianism\nEthics\nEthics books\nHistory of ethics\nHistory of philosophy\nIntellectual history\nJohn Rawls\nJustice\nPhilosophical concepts\nPhilosophical theories\nPhilosophy essays\nPublic sphere\nSocial justice\nSocial philosophy literature\nSociology essays\nTheories\nTheories of law\nValue (ethics)\nVirtue",
"Equal opportunity is a state of fairness in which individuals are treated similarly, unhampered by artificial barriers, prejudices, or preferences, except when particular distinctions can be explicitly justified. The intent is that the important jobs in an organization should go to the people who are most qualified – persons most likely to perform ably in a given task – and not go to persons for reasons deemed arbitrary or irrelevant, such as circumstances of birth, upbringing, having well-connected relatives or friends, religion, sex, ethnicity, race, caste, or involuntary personal attributes such as disability, age, gender identity, or sexual orientation.\n\nAccording to proponents of the concept, chances for advancement should be open to everybody without regard for wealth, status or membership in a privileged group. The idea is to remove arbitrariness from the selection process and base it on some \"pre-agreed basis of fairness, with the assessment process being related to the type of position\" and emphasizing procedural and legal means. Individuals should succeed or fail based on their own efforts and not extraneous circumstances such as having well-connected parents. It is opposed to nepotism and plays a role in whether a social structure is seen as legitimate. The concept is applicable in areas of public life in which benefits are earned and received such as employment and education, although it can apply to many other areas as well. Equal opportunity is central to the concept of meritocracy.\n\nDiffering political viewpoints \n\nPeople with differing political viewpoints often view the concept differently. The meaning of equal opportunity is debated in fields such as political philosophy, sociology and psychology. It is being applied to increasingly wider areas beyond employment, including lending, housing, college admissions, voting rights and elsewhere. In the classical sense, equality of opportunity is closely aligned with the concept of equality before the law and ideas of meritocracy.\n\nGenerally, the terms equality of opportunity and equal opportunity are interchangeable, with occasional slight variations; the former has more of a sense of being an abstract political concept while \"equal opportunity\" is sometimes used as an adjective, usually in the context of employment regulations, to identify an employer, a hiring approach, or law. Equal opportunity provisions have been written into regulations and have been debated in courtrooms. It is sometimes conceived as a legal right against discrimination. It is an ideal which has become increasingly widespread in Western nations during the last several centuries and is intertwined with social mobility, most often with upward mobility and with rags to riches stories:\n\nTheory\n\nOutline of the concept \n\nAccording to the Stanford Encyclopedia of Philosophy, the concept assumes that society is stratified with a diverse range of roles, some of which are more desirable than others. The benefit of equality of opportunity is to bring fairness to the selection process for coveted roles in corporations, associations, nonprofits, universities and elsewhere. According to one view, there is no \"formal linking\" between equality of opportunity and political structure, in the sense that there can be equality of opportunity in democracies, autocracies and in communist nations, although it is primarily associated with a competitive market economy and embedded within the legal frameworks of democratic societies. People with different political perspectives see equality of opportunity differently: liberals disagree about which conditions are needed to ensure it and many \"old-style\" conservatives see inequality and hierarchy in general as beneficial out of a respect for tradition. It can apply to a specific hiring decision, or to all hiring decisions by a specific company, or rules governing hiring decisions for an entire nation. The scope of equal opportunity has expanded to cover more than issues regarding the rights of minority groups, but covers practices regarding \"recruitment, hiring, training, layoffs, discharge, recall, promotions, responsibility, wages, sick leave, vacation, overtime, insurance, retirement, pensions, and various other benefits\".\n\nThe concept has been applied to numerous aspects of public life, including accessibility of polling stations, care provided to HIV patients, whether men and women have equal opportunities to travel on a spaceship, bilingual education, skin color of models in Brazil, television time for political candidates, army promotions, admittance to universities and ethnicity in the United States. The term is interrelated with and often contrasted with other conceptions of equality such as equality of outcome and equality of autonomy. Equal opportunity emphasizes the personal ambition and talent and abilities of the individual, rather than his or her qualities based on membership in a group, such as a social class or race or extended family. Further, it is seen as unfair if external factors that are viewed as being beyond the control of a person significantly influence what happens to him or her. Equal opportunity then emphasizes a fair process whereas in contrast equality of outcome emphasizes a fair outcome. In sociological analysis, equal opportunity is seen as a factor correlating positively with social mobility, in the sense that it can benefit society overall by maximizing well-being.\n\nDifferent types \nThere are different concepts lumped under equality of opportunity.\n\nFormal equality of opportunity is a lack of (unfair) direct discrimination. It requires that deliberate discrimination be relevant and meritocratic. For instance, job interviews should only discriminate against applicants for job incompetence. Universities should not accept a less-capable applicant instead of a more-capable applicant who can't pay tuition.\n\nSubstantive equality of opportunity is absence of indirect discrimination. It requires that society be fair and meritocratic. For instance, a person should not be more likely to die at work because they were born in a country with corrupt labor law enforcement. No one should have to drop out of school because their family needs of a full-time carer or wage earner.\n\nFormal equality of opportunity does not imply substantive equality of opportunity. Firing any employee who gets pregnant is formally equal, but substantively it hurts women more.\n\nSubstantive inequality is often more difficult to address. A political party that formally allows anyone to join, but meets in a non-wheelchair-accessible building far from public transit, substantively discriminates against both young and old members as they are less likely to be able-bodied car-owners. However, if the party raises membership dues in order to afford a better building, it discourages poor members instead. A workplace in which it is difficult for persons with special needs and disabilities to perform can considered as a type of substantive inequality, although job restructuring activities can be done to make it easier for disabled persons to succeed. Grade-cutoff university admission is formally fair, but if in practice it overwhelmingly picks women and graduates of expensive user-fee schools, it is substantively unfair to men and the poor. The unfairness has already taken place and the university can choose to try to counterbalance it, but it likely can not single-handedly make pre-university opportunities equal. Social mobility and the Great Gatsby curve are often used as an indicator of substantive equality of opportunity.\n\nBoth equality concepts say that it is unfair and inefficient if extraneous factors rule people's lives. Both accept as fair inequality based on relevant, meritocratic factors. They differ in the scope of the methods used to promote them.\n\nFormal equality of opportunity \n\nFormal equality of opportunity is sometimes referred to as the nondiscrimination principle or described as the absence of direct discrimination, or described in the narrow sense as equality of access. It is characterized by:\n Open call. Positions bringing superior advantages should be open to all applicants and job openings should be publicized in advance giving applicants a \"reasonable opportunity\" to apply. Further, all applications should be accepted.\n Fair judging. Applications should be judged on their merits, with procedures designed to identify those best-qualified. The evaluation of the applicant should be in accord with the duties of the position and for the job opening of choir director, for example, the evaluation may judge applicants based on musical knowledge rather than some arbitrary criterion such as hair color.\n An application is chosen. The applicant judged as \"most qualified\" is offered the position while others are not. There is agreement that the result of the process is again unequal, in the sense that one person has the position while another does not, but that this outcome is deemed fair on procedural grounds.\n\nThe formal approach is seen as a somewhat basic \"no frills\" or \"narrow\" approach to equality of opportunity, a minimal standard of sorts, limited to the public sphere as opposed to private areas such as the family, marriage, or religion. What is considered \"fair\" and \"unfair\" is spelled out in advance. An expression of this version appeared in The New York Times: \"There should be an equal opportunity for all. Each and every person should have as great or as small an opportunity as the next one. There should not be the unfair, unequal, superior opportunity of one individual over another.\"\n\nThis sense was also expressed by economists Milton and Rose Friedman in their 1980 book Free to Choose. The Friedmans explained that equality of opportunity was \"not to be interpreted literally\" since some children are born blind while others are born sighted, but that \"its real meaning is ... a career open to the talents\". This means that there should be \"no arbitrary obstacles\" blocking a person from realizing their ambitions: \"Not birth, nationality, color, religion, sex, nor any other irrelevant characteristic should determine the opportunities that are open to a person – only his abilities\".\n\nA somewhat different view was expressed by John Roemer, who used the term nondiscrimination principle to mean that \"all individuals who possess the attributes relevant for the performance of the duties of the position in question be included in the pool of eligible candidates, and that an individual's possible occupancy of the position be judged only with respect to those relevant attributes\". Matt Cavanagh argued that race and sex should not matter when getting a job, but that the sense of equality of opportunity should not extend much further than preventing straightforward discrimination.\n\nIt is a relatively straightforward task for legislators to ban blatant efforts to favor one group over another and encourage equality of opportunity as a result. Japan banned gender-specific job descriptions in advertising as well as sexual discrimination in employment as well as other practices deemed unfair, although a subsequent report suggested that the law was having minimal effect in securing Japanese women high positions in management. In the United States, the Equal Employment Opportunity Commission sued a private test preparation firm, Kaplan, for unfairly using credit histories to discriminate against African Americans in terms of hiring decisions. According to one analysis, it is possible to imagine a democracy which meets the formal criteria (1 through 3), but which still favors wealthy candidates who are selected in free and fair elections.\n\nSubstantive equality of opportunity \n\nSubstantive equality of opportunity, sometimes called fair equality of opportunity, is a somewhat broader and more expansive concept than the more limiting formal equality of opportunity and it deals with what is sometimes described as indirect discrimination. It goes farther and is more controversial than the formal variant; and has been thought to be much harder to achieve, with greater disagreement about how to achieve greater equality; and has been described as \"unstable\", particularly if the society in question is unequal to begin with in terms of great disparity of wealth. It has been identified as more of a left-leaning political position, but this is not a hard-and-fast rule. The substantive model is advocated by people who see limitations in the formal model: \n\nIn the substantive approach, the starting point before the race begins is unfair since people have had differing experiences before even approaching the competition. The substantive approach examines the applicants themselves before applying for a position and judges whether they have equal abilities or talents; and if not, then it suggests that authorities (usually the government) take steps to make applicants more equal before they get to the point where they compete for a position and fixing the before-the-starting-point issues has sometimes been described as working towards \"fair access to qualifications\". It seeks to remedy inequalities perhaps because of an \"unfair disadvantage\" based sometimes on \"prejudice in the past\".\n\nAccording to John Hills, children of wealthy and well-connected parents usually have a decisive advantage over other types of children and he notes that \"advantage and disadvantage reinforce themselves over the life cycle, and often on to the next generation\" so that successful parents pass along their wealth and education to succeeding generations, making it difficult for others to climb up a social ladder. However, so-called positive action efforts to bring an underprivileged person up to speed before a competition begins are limited to the period of time before the evaluation begins. At that point, the \"final selection for posts must be made according to the principle the best person for the job\", that is, a less qualified applicant should not be chosen over a more qualified applicant. There are also nuanced views too: one position suggested that the unequal results following a competition were unjust if caused by bad luck, but just if chosen by the individual and that weighing matters such as personal responsibility was important. This variant of the substantive model has sometimes been called luck egalitarianism. Regardless of the nuances, the overall idea is still to give children from less fortunate backgrounds more of a chance, or to achieve at the beginning what some theorists call equality of condition. Writer Ha-Joon Chang expressed this view: \n\nIn a sense, substantive equality of opportunity moves the \"starting point\" further back in time. Sometimes it entails the use of affirmative action policies to help all contenders become equal before they get to the starting point, perhaps with greater training, or sometimes redistributing resources via restitution or taxation to make the contenders more equal. It holds that all who have a \"genuine opportunity to become qualified\" be given a chance to do so and it is sometimes based on a recognition that unfairness exists, hindering social mobility, combined with a sense that the unfairness should not exist or should be lessened in some manner. One example postulated was that a warrior society could provide special nutritional supplements to poor children, offer scholarships to military academies and dispatch \"warrior skills coaches\" to every village as a way to make opportunity substantively more fair. The idea is to give every ambitious and talented youth a chance to compete for prize positions regardless of their circumstances of birth.\n\nThe substantive approach tends to have a broader definition of extraneous circumstances which should be kept out of a hiring decision. One editorial writer suggested that among the many types of extraneous circumstances which should be kept out of hiring decisions was personal beauty, sometimes termed \"lookism\": \n\nThe substantive position was advocated by Bhikhu Parekh in 2000 in Rethinking Multiculturalism, in which he wrote that \"all citizens should enjoy equal opportunities to acquire the capacities and skills needed to function in society and to pursue their self-chosen goals equally effectively\" and that \"equalising measures are justified on grounds of justice as well as social integration and harmony\". Parekh argued that equal opportunities included so-called cultural rights which are \"ensured by the politics of recognition\".\n\nAffirmative action programs usually fall under the substantive category. The idea is to help disadvantaged groups get back to a normal starting position after a long period of discrimination. The programs involve government action, sometimes with resources being transferred from an advantaged group to a disadvantaged one and these programs have been justified on the grounds that imposing quotas counterbalances the past discrimination as well as being a \"compelling state interest\" in diversity in society. For example, there was a case in São Paulo in Brazil of a quota imposed on the São Paulo Fashion Week to require that \"at least 10 percent of the models to be black or indigenous\" as a coercive measure to counteract a \"longstanding bias towards white models\". It does not have to be accomplished via government action: for example, in the 1980s in the United States, President Ronald Reagan dismantled parts of affirmative action, but one report in the Chicago Tribune suggested that companies remained committed to the principle of equal opportunity regardless of government requirements. In another instance, upper-middle-class students taking the Scholastic Aptitude Test in the United States performed better since they had had more \"economic and educational resources to prepare for these test than others\". The test itself was seen as fair in a formal sense, but the overall result was seen as nevertheless unfair. In India, the Indian Institutes of Technology found that to achieve substantive equality of opportunity the school had to reserve 22.5 percent of seats for applicants from \"historically disadvantaged schedule castes and tribes\". Elite universities in France began a special \"entrance program\" to help applicants from \"impoverished suburbs\".\n\nEquality of fair opportunity \nPhilosopher John Rawls offered this variant of substantive equality of opportunity and explained that it happens when individuals with the same \"native talent and the same ambition\" have the same prospects of success in competitions. Gordon Marshall offers a similar view with the words \"positions are to be open to all under conditions in which persons of similar abilities have equal access to office\". An example was given that if two persons X and Y have identical talent, but X is from a poor family while Y is from a rich one, then equality of fair opportunity is in effect when both X and Y have the same chance of winning the job. It suggests the ideal society is \"classless\" without a social hierarchy being passed from generation to generation, although parents can still pass along advantages to their children by genetics and socialization skills. One view suggests that this approach might advocate \"invasive interference in family life\". Marshall posed this question: \n\nEconomist Paul Krugman agrees mostly with the Rawlsian approach in that he would like to \"create the society each of us would want if we didn't know in advance who we'd be\". Krugman elaborated: \"If you admit that life is unfair, and that there's only so much you can do about that at the starting line, then you can try to ameliorate the consequences of that unfairness\".\n\nLevel playing field \n\nSome theorists have posed a level playing field conception of equality of opportunity, similar in many respects to the substantive principle (although it has been used in different contexts to describe formal equality of opportunity) and it is a core idea regarding the subject of distributive justice espoused by John Roemer and Ronald Dworkin and others. Like the substantive notion, the level playing field conception goes farther than the usual formal approach. The idea is that initial \"unchosen inequalities\" – prior circumstances over which an individual had no control, but which impact his or her success in a given competition for a particular post – these unchosen inequalities should be eliminated as much as possible, according to this conception. According to Roemer, society should \"do what it can to level the playing field so that all those with relevant potential will eventually be admissible to pools of candidates competing for positions\". Afterwards, when an individual competes for a specific post, he or she might make specific choices which cause future inequalities – and these inequalities are deemed acceptable because of the previous presumption of fairness. This system helps undergird the legitimacy of a society's divvying up of roles as a result in the sense that it makes certain achieved inequalities \"morally acceptable\", according to persons who advocate this approach. This conception has been contrasted to the substantive version among some thinkers and it usually has ramifications for how society treats young persons in such areas as education and socialization and health care, but this conception has been criticized as well. John Rawls postulated the difference principle which argued that \"inequalities are justified only if needed to improve the lot of the worst off, for example by giving the talented an incentive to create wealth\".\n\nMeritocracy \nThere is some overlap among these different conceptions with the term meritocracy which describes an administrative system which rewards such factors as individual intelligence, credentials, education, morality, knowledge or other criteria believed to confer merit. Equality of opportunity is often seen as a major aspect of a meritocracy. One view was that equality of opportunity was more focused on what happens before the race begins while meritocracy is more focused on fairness at the competition stage. The term meritocracy can also be used in a negative sense to refer to a system in which an elite hold themselves in power by controlling access to merit (via access to education, experience, or bias in assessment or judgment).\n\nMoral senses \nThere is general agreement that equality of opportunity is good for society, although there are diverse views about how it is good since it is a value judgement. It is generally viewed as a positive political ideal in the abstract sense. In nations where equality of opportunity is absent, it can negatively impact economic growth, according to some views and one report in Al Jazeera suggested that Egypt, Tunisia and other Middle Eastern nations were stagnating economically in part because of a dearth of equal opportunity. The principle of equal opportunity can conflict with notions of meritocracy in circumstances in which individual differences in human abilities are believed to be determined mostly by genetics as in such circumstances there can be conflict about how to achieve fairness in such situations.\n\nPractical considerations\n\nDifficulties with implementation \nThere is general agreement that programs to bring about certain types of equality of opportunity can be difficult and that efforts to cause one result often have unintended consequences or cause other problems. There is agreement that the formal approach is easier to implement than the others, although there are difficulties there too.\n\nA government policy that requires equal treatment can pose problems for lawmakers. A requirement for government to provide equal health care services for all citizens can be prohibitively expensive. If government seeks equality of opportunity for citizens to get health care by rationing services using a maximization model to try to save money, new difficulties might emerge. For example, trying to ration health care by maximizing the \"quality-adjusted years of life\" might steer monies away from disabled persons even though they may be more deserving, according to one analysis. In another instance, BBC News questioned whether it was wise to ask female army recruits to undergo the same strenuous tests as their male counterparts since many women were being injured as a result.\n\nAge discrimination can present vexing challenges for policymakers trying to implement equal opportunity. According to several studies, attempts to be equally fair to both a young and an old person are problematic because the older person has presumably fewer years left to live and it may make more sense for a society to invest greater resources in a younger person's health. Treating both persons equally while following the letter of the equality of opportunity seems unfair from a different perspective.\n\nEfforts to achieve equal opportunity along one dimension can exacerbate unfairness in other dimensions. For example, public bathrooms: If for the sake of fairness the physical area of men's and women's bathrooms is equal, the overall result may be unfair since men can use urinals, which require less physical space. In other words, a more fair arrangement may be to allot more physical space for women's restrooms. The sociologist Harvey Molotch explained: \"By creating men's and women's rooms of the same size, society guarantees that individual women will be worse off than individual men.\"\n\nAnother difficulty is that it is hard for a society to bring substantive equality of opportunity to every type of position or industry. If a nation focuses efforts on some industries or positions, then people with other talents may be left out. For example, in an example in the Stanford Encyclopedia of Philosophy, a warrior society might provide equal opportunity for all kinds of people to achieve military success through fair competition, but people with non-military skills such as farming may be left out.\n\nLawmakers have run into problems trying to implement equality of opportunity. In 2010 in Britain, a legal requirement \"forcing public bodies to try to reduce inequalities caused by class disadvantage\" was scrapped after much debate and replaced by a hope that organizations would try to focus more on \"fairness\" than \"equality\" as fairness is generally seen as a much unclear concept than equality, but easier for politicians to manage if they are seeking to avoid fractious debate. In New York City, mayor Ed Koch tried to find ways to maintain the \"principle of equal treatment\" while arguing against more substantive and abrupt transfer payments called minority set-asides.\n\nMany countries have specific bodies tasked with looking at equality of opportunity issues. In the United States, for example, it is the Equal Employment Opportunity Commission; in Britain, there is the Equality of Opportunity Committee as well as the Equality and Human Rights Commission; in Canada, the Royal Commission on the Status of Women has \"equal opportunity as its precept\"; and in China, the Equal Opportunities Commission handles matters regarding ethnic prejudice. In addition, there have been political movements pushing for equal treatment, such as the Women's Equal Opportunity League which in the early decades of the twentieth century, pushed for fair treatment by employers in the United States. One of the group's members explained: Global initiatives such as the United Nations Sustainable Development Goal 5 and Goal 10 are also aimed at ensuring equal opportunities for women at all levels of decision making, and reducing inequalities of outcome.\n\nDifficulties with measurement \nThe consensus view is that trying to measure equality of opportunity is difficult whether examining a single hiring decision or looking at groups over time.\n Single instance. It is possible to reexamine the procedures governing a specific hiring decision, see if they were followed and re-evaluate the selection by asking questions such as \"Was it fair? Were fair procedures followed? Was the best applicant selected?\". This is a judgment call and it is possible that biases may enter into the minds of decision-makers. The determination of equality of opportunity in such an instance is based on mathematical probability: if equality of opportunity is in effect, then it is seen as fair if each of two applicants has a 50 per cent chance of winning the job, that is, they both have equal chances to succeed (assuming of course that the person making the probability assessment is unaware of all variables – including valid ones such as talent or skill as well as arbitrary ones such as race or gender). However, it is hard to measure whether each applicant had in fact a 50 per cent chance based on the outcome.\n Groups. When assessing equal opportunity for a type of job or company or industry or nation, then statistical analysis is often done by looking at patterns and abnormalities, typically comparing subgroups with larger groups on a percentage basis. If equality of opportunity is violated, perhaps by discrimination which affects a subgroup or population over time, it is possible to make this determination using statistical analysis, but there are numerous difficulties involved. Nevertheless, entities such as city governments and universities have hired full-time professionals with knowledge of statistics to ensure compliance with equal opportunity regulations. For example, Colorado State University requires their director of its Office of Equal Opportunity to maintain extensive statistics on its employees by job category as well as minorities and gender. In Britain, Aberystwyth University collects information including the \"representation of women, men, members of racial or ethnic minorities and people with disabilities amongst applicants for posts, candidates interviewed, new appointments, current staff, promotions and holders of discretionary awards\" to comply with equal opportunity laws.\n\nIt is difficult to prove unequal treatment although statistical analysis can provide indications of problems, but it is subject to conflicts over interpretation and methodological issues. For example, a study in 2007 by the University of Washington examined its own treatment of women. Researchers collected statistics about female participation in numerous aspects of university life, including percentages of women with full professorships (23 per cent), enrollment in programs such as nursing (90 per cent) and engineering (18 per cent). There is wide variation in how these statistics might be interpreted. For example, the 23 per cent figure for women with full professorships could be compared to the total population of women (presumably 50 per cent) perhaps using census data, or it might be compared to the percentage of women with full professorships at competing universities. It might be used in an analysis of how many women applied for the position of full professor compared to how many women attained this position. Further, the 23 per cent figure could be used as a benchmark or baseline figure as part of an ongoing longitudinal analysis to be compared with future surveys to track progress over time. In addition, the strength of the conclusions is subject to statistical issues such as sample size and bias. For reasons such as these, there is considerable difficulty with most forms of statistical interpretation.\n\nStatistical analysis of equal opportunity has been done using sophisticated examinations of computer databases. An analysis in 2011 by University of Chicago researcher Stefano Allesina examined 61,000 names of Italian professors by looking at the \"frequency of last names\", doing one million random drawings and he suggested that Italian academia was characterized by violations of equal opportunity practices as a result of these investigations. The last names of Italian professors tended to be similar more often than predicted by random chance. The study suggested that newspaper accounts showing that \"nine relatives from three generations of a single family (were) on the economics faculty\" at the University of Bari were not aberrations, but indicated a pattern of nepotism throughout Italian academia.\n\nThere is support for the view that often equality of opportunity is measured by the criteria of equality of outcome, although with difficulty. In one example, an analysis of relative equality of opportunity was done based on outcomes, such as a case to see whether hiring decisions were fair regarding men versus women—the analysis was done using statistics based on average salaries for different groups. In another instance, a cross-sectional statistical analysis was conducted to see whether social class affected participation in the United States Armed Forces during the Vietnam War: a report in Time by the Massachusetts Institute of Technology suggested that soldiers came from a variety of social classes and that the principle of equal opportunity had worked, possibly because soldiers had been chosen by a lottery process for conscription. In college admissions, equality of outcome can be measured directly by comparing offers of admission given to different groups of applicants: for example, there have been reports in newspapers of discrimination against Asian Americans regarding college admissions in the United States which suggest that Asian American applicants need higher grades and test scores to win admission to prestigious universities than other ethnic groups.\n\nMarketplace considerations \nEqual opportunity has been described as a fundamental basic notion in business and commerce and described by economist Adam Smith as a basic economic precept. There has been research suggesting that \"competitive markets will tend to drive out such discrimination\" since employers or institutions which hire based on arbitrary criteria will be weaker as a result and not perform as well as firms which embrace equality of opportunity. Firms competing for overseas contracts have sometimes argued in the press for equal chances during the bidding process, such as when American oil corporations wanted equal shots at developing oil fields in Sumatra; and firms, seeing how fairness is beneficial while competing for contracts, can apply the lesson to other areas such as internal hiring and promotion decisions. A report in USA Today suggested that the goal of equal opportunity was \"being achieved throughout most of the business and government labor markets because major employers pay based on potential and actual productivity\".\n\nFair opportunity practices include measures taken by an organization to ensure efficiency effectiveness and fairness in the employment process. A basic definition of equality is the idea of equal treatment and respect. In job advertisements and descriptions, the fact that the employer is an equal opportunity employer is sometimes indicated by the abbreviations EOE or MFDV, which stands for Minority, Female, Disabled, Veteran. Analyst Ross Douthat in The New York Times suggested that equality of opportunity depends on a rising economy which brings new chances for upward mobility and he suggested that greater equality of opportunity is more easily achieved during \"times of plenty\". Efforts to achieve equal opportunity can rise and recede, sometimes as a result of economic conditions or political choices. Empirical evidence from public health research also suggests that equality of opportunity is linked to better health outcomes in the United States and Europe.\n\nHistory \nAccording to professor David Christian of Macquarie University, an underlying Big History trend has been a shift from seeing people as resources to exploit towards a perspective of seeing people as individuals to empower. According to Christian, in many ancient agrarian civilizations, roughly nine of every ten persons was a peasant exploited by a ruling class. In the past thousand years, there has been a gradual movement in the direction of greater respect for equal opportunity as political structures based on generational hierarchies and feudalism broke down during the late Middle Ages and new structures emerged during the Renaissance. Monarchies were replaced by democracies: kings were replaced by parliaments and congresses. Slavery was also abolished generally. The new entity of the nation state emerged with highly specialized parts, including corporations, laws and new ideas about citizenship as well as values about individual rights found expression in constitutions, laws and statutes.\n\nIn the United States, one legal analyst suggested that the real beginning of the modern sense of equal opportunity was in the Fourteenth Amendment which provided \"equal protection under the law\". The amendment did not mention equal opportunity directly, but it helped undergird a series of later rulings which dealt with legal struggles, particularly by African Americans and later women, seeking greater political and economic power in the growing republic. In 1933, a congressional \"Unemployment Relief Act\" forbade discrimination \"on the basis of race, color, or creed\". The Supreme Court's 1954 Brown v. Board of Education decision furthered government initiatives to end discrimination.\n\nIn 1961, President John F. Kennedy signed Executive Order 10925 which enabled a presidential committee on equal opportunity, which was soon followed by President Lyndon B. Johnson's Executive Order 11246. The Civil Rights Act of 1964 became the legal underpinning of equal opportunity in employment. Businesses and other organizations learned to comply with the rulings by specifying fair hiring and promoting practices and posting these policy notices on bulletin boards, employee handbooks and manuals as well as training sessions and films. Courts dealt with issues about equal opportunity, such as the 1989 Wards Cove decision, the Supreme Court ruled that statistical evidence by itself was insufficient to prove racial discrimination. The Equal Employment Opportunity Commission was established, sometimes reviewing charges of discrimination cases which numbered in the tens of thousands annually during the 1990s. Some law practices specialized in employment law. Conflict between formal and substantive approaches manifested itself in backlashes, sometimes described as reverse discrimination, such as the Bakke case when a white male applicant to medical school sued on the basis of being denied admission because of a quota system preferring minority applicants. In 1990, the Americans with Disabilities Act prohibited discrimination against disabled persons, including cases of equal opportunity. In 2008, the Genetic Information Nondiscrimination Act prevents employers from using genetic information when hiring, firing, or promoting employees.\n\nMeasures \nMany economists measure the degree of equal opportunity with measures of economic mobility. For instance, Joseph Stiglitz asserts that with five economic divisions and full equality of opportunity, \"20 percent of those in the bottom fifth would see their children in the bottom fifth. Denmark almost achieves that – 25 percent are stuck there. Britain, supposedly notorious for its class divisions, does only a little worse (30 percent). That means they have a 70 percent chance of moving up. The chances of moving up in America, though, are markedly smaller (only 58 percent of children born to the bottom group make it out), and when they do move up, they tend to move up only a little\". Similar analyses can be performed for each economic division and overall. They all show how far from the ideal all industrialized nations are and how correlated measures of equal opportunity are with income inequality and wealth inequality. Equal opportunity has ramifications beyond income; the American Human Development Index, rooted in the capabilities approach pioneered by Amartya Sen, is used to measure opportunity across geographies in the U.S. using health, education and standard of living outcomes.\n\nCriticism \nThere is agreement that the concept of equal opportunity lacks a precise definition. While it generally describes \"open and fair competition\" with equal chances for achieving sought-after jobs or positions as well as an absence of discrimination, the concept is elusive with a \"wide range of meanings\". It is hard to measure, and implementation poses problems as well as disagreements about what to do.\n\nThere have been various criticisms directed at both the substantive and formal approach. One account suggests that left-leaning thinkers who advocate equality of outcome fault even formal equality of opportunity on the grounds that it \"legitimates inequalities of wealth and income\". John W. Gardner suggested several views: (1) that inequalities will always exist regardless of trying to erase them; (2) that bringing everyone \"fairly to the starting line\" without dealing with the \"destructive competitiveness that follows\"; (3) any equalities achieved will entail future inequalities. Substantive equality of opportunity has led to concerns that efforts to improve fairness \"ultimately collapses into the different one of equality of outcome or condition\".\n\nEconomist Larry Summers advocated an approach of focusing on equality of opportunity and not equality of outcomes and that the way to strengthen equal opportunity was to bolster public education. A contrasting report in The Economist criticized efforts to contrast equality of opportunity and equality of outcome as being opposite poles on a hypothetical ethical scale, such that equality of opportunity should be the \"highest ideal\" while equality of outcome was \"evil\". Rather, the report argued that any difference between the two types of equality was illusory and that both terms were highly interconnected. According to this argument, wealthier people have greater opportunities – wealth itself can be considered as \"distilled opportunity\" – and children of wealthier parents have access to better schools, health care, nutrition and so forth. Accordingly, people who endorse equality of opportunity may like the idea of it in principle, yet at the same time they would be unwilling to take the extreme steps or \"titanic interventions\" necessary to achieve real intergenerational equality. A slightly different view in The Guardian suggested that equality of opportunity was merely a \"buzzword\" to sidestep the thornier political question of income inequality.\n\nThere is speculation that since equality of opportunity is only one of sometimes competing \"justice norms\", there is a risk that following equality of opportunity too strictly might cause problems in other areas. A hypothetical example was suggested: suppose wealthier people gave excessive amounts of campaign contributions; suppose further that these contributions resulted in better regulations; and then laws limiting such contributions on the basis of equal opportunity for all political participants may have the unintended long term consequence of making political decision-making lackluster and possibly hurting the groups that it was trying to protect. Philosopher John Kekes makes a similar point in his book The Art of Politics in which he suggests that there is a danger to elevating any one particular political good – including equality of opportunity – without balancing competing goods such as justice, property rights and others. Kekes advocated having a balanced perspective, including a continuing dialog between cautionary elements and reform elements. A similar view was expressed by Ronald Dworkin in The Economist: \n\nEconomist Paul Krugman sees equality of opportunity as a \"non-Utopian compromise\" which works and is a \"pretty decent arrangement\" which varies from country to country. However, there are differing views such as by Matt Cavanagh, who criticised equality of opportunity in his 2002 book Against Equality of Opportunity. Cavanagh favored a limited approach of opposing specific kinds of discrimination as steps to help people get greater control over their lives.\n\nConservative thinker Dinesh D'Souza criticized equality of opportunity on the basis that \"it is an ideal that cannot and should not be realized through the actions of the government\" and added that \"for the state to enforce equal opportunity would be to contravene the true meaning of the Declaration and to subvert the principle of a free society\". D'Souza described how his parenting undermined equality of opportunity: \n\nD'Souza argued that it was wrong for government to try to bring his daughter down, or to force him to raise up other people's children, but a counterargument is that there is a benefit to everybody, including D'Souza's daughter, to have a society with less anxiety about downward mobility, less class resentment and less possible violence.\n\nAn argument similar to D'Souza's was raised in Anarchy, State, and Utopia by Robert Nozick, who wrote that the only way to achieve equality of opportunity was \"directly worsening the situations of those more favored with opportunity, or by improving the situation of those less well-favored\". Nozick gave an argument of two suitors competing to marry one \"fair lady\": X was plain while Y was better looking and more intelligent. If Y did not exist, then \"fair lady\" would have married X, but Y exists and so she marries Y. Nozick asks: \"Does suitor X have a legitimate complaint against Y on the basis of unfairness since Y did not earn his good looks or intelligence?\". Nozick suggests that there is no grounds for complaint. Nozick argued against equality of opportunity on the grounds that it violates the rights of property since the equal opportunity maxim interferes with an owner's right to do what he or she pleases with a property.\n\nProperty rights were a major component of the philosophy of John Locke and are sometimes referred to as \"Lockean rights\". The sense of the argument is along these lines: equal opportunity rules regarding, say, a hiring decision within a factory, made to bring about greater fairness, violate a factory owner's rights to run the factory as he or she sees best; it has been argued that a factory owner's right to property encompasses all decision-making within the factory as being part of those property rights. That some people's \"natural assets\" were unearned is irrelevant to the equation according to Nozick and he argued that people are nevertheless entitled to enjoy these assets and other things freely given by others.\n\nFriedrich Hayek felt that luck was too much of a variable in economics, such that one can not devise a system with any kind of fairness when many market outcomes are unintended. By sheer chance or random circumstances, a person may become wealthy just by being in the right place and time and Hayek argued that it is impossible to devise a system to make opportunities equal without knowing how such interactions may play out. Hayek saw not only equality of opportunity, but all of social justice as a \"mirage\".\n\nSome conceptions of equality of opportunity, particularly the substantive and level playing field variants, have been criticized on the basis that they make assumptions to the effect that people have similar genetic makeups. Other critics have suggested that social justice is more complex than mere equality of opportunity. Nozick made the point that what happens in society can not always be reduced to competitions for a coveted position and in 1974 wrote that \"life is not a race in which we all compete for a prize which someone has established\", that there is \"no unified race\" and there is not some one person \"judging swiftness\".\n\nSee also\n\nReferences\n\nExternal links \n\n United Kingdom\n UK Government Women & Equality Unit\n United States\n U.S. Equal Employment Opportunity Commission (EEOC) (US) – the branch of the U.S. government that enforces equal opportunity laws in workplaces\n Department of the Interior Office for Equal Opportunity (US)\n Stanford Encyclopedia of Philosophy entry on Equality of Opportunity\n\nDiscrimination\nDisability rights\nAnti-racism\nEquality rights\nEgalitarianism\nLiberalism\nSocial inequality\nRight-wing politics\nIdentity politics"
] |
[
"John Rawls",
"Principles of justice",
"What is the Principles of justice?",
"The first of these is the Liberty Principle,",
"What is the Liberty Principle?",
"establishes equal basic liberties for all citizens.",
"What is another principle?",
"a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle.",
"Why is the difference principle controversial?",
"I don't know.",
"What is the Fair Equality of Opportunity principle?",
"wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals."
] |
C_fbdc972b162d4afc9a73b6e6d63c5bb1_1
|
What is the difference principle?
| 6 |
What is the difference principle?
|
John Rawls
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Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick). Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged. Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers. Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice". In this respect, he understood justice as fairness as a contribution to "ideal theory", the determination of "principles that characterize a well-ordered society under favorable circumstances". Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory". CANNOTANSWER
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those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged.
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John Bordley Rawls (; February 21, 1921 – November 24, 2002) was an American moral and political philosopher in the liberal tradition. Rawls received both the Schock Prize for Logic and Philosophy and the National Humanities Medal in 1999, the latter presented by President Bill Clinton, in recognition of how Rawls's work "revived the disciplines of political and ethical philosophy with his argument that a society in which the most fortunate help the least fortunate is not only a moral society but a logical one".
In 1990, Will Kymlicka wrote in his introduction to the field that "it is generally accepted that the recent rebirth of normative political philosophy began with the publication of John Rawls's A Theory of Justice in 1971". Rawls has often been described as one of the most influential political philosophers of the 20th century. He has the unusual distinction among contemporary political philosophers of being frequently cited by the courts of law in the United States and Canada and referred to by practising politicians in the United States and the United Kingdom. In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years".
Rawls's theory of "justice as fairness" recommends equal basic liberties, equality of opportunity, and facilitating the maximum benefit to the least advantaged members of society in any case where inequalities may occur. Rawls's argument for these principles of social justice uses a thought experiment called the "original position", in which people deliberately select what kind of society they would choose to live in if they did not know which social position they would personally occupy. In his later work Political Liberalism (1993), Rawls turned to the question of how political power could be made legitimate given reasonable disagreement about the nature of the good life.
Biography
Early life
Rawls was born in Baltimore, Maryland. He was the second of five sons born to William Lee Rawls, a prominent Baltimore attorney, and Anna Abell Stump Rawls. Tragedy struck Rawls at a young age:
Two of his brothers died in childhood because they had contracted fatal illnesses from him. ... In 1928, the seven-year-old Rawls contracted diphtheria. His brother Bobby, younger by 20 months, visited him in his room and was fatally infected. The next winter, Rawls contracted pneumonia. Another younger brother, Tommy, caught the illness from him and died.
Rawls's biographer Thomas Pogge calls the loss of the brothers the "most important events in John's childhood."
Rawls graduated from the Calvert School in Baltimore before enrolling in the Kent School, an Episcopalian preparatory school in Connecticut. Upon graduation in 1939, Rawls attended Princeton University, where he was accepted into The Ivy Club and the American Whig-Cliosophic Society. At Princeton, Rawls was influenced by Norman Malcolm, Ludwig Wittgenstein's student. During his last two years at Princeton, he "became deeply concerned with theology and its doctrines." He considered attending a seminary to study for the Episcopal priesthood and wrote an "intensely religious senior thesis (BI)." In his 181-page long thesis titled "Meaning of Sin and Faith," Rawls attacked Pelagianism because it "would render the Cross of Christ to no effect." His argument was partly drawn from Karl Marx's book On the Jewish Question, which criticized the idea that natural inequality in ability could be a just determiner of the distribution of wealth in society. Even after Rawls became an atheist, many of the anti-Pelagian arguments he used were repeated in A Theory of Justice. Rawls graduated from Princeton in 1943 with a Bachelor of Arts summa cum laude.
Military service, 1943–46
Rawls enlisted in the U.S. Army in February 1943. During World War II, Rawls served as an infantryman in the Pacific, where he served a tour of duty in New Guinea and was awarded a Bronze Star; and the Philippines, where he endured intensive trench warfare and witnessed traumatizing scenes of violence and bloodshed. It was there that he lost his Christian faith and became an atheist.
Following the surrender of Japan, Rawls became part of General MacArthur's occupying army and was promoted to sergeant. But he became disillusioned with the military when he saw the aftermath of the atomic blast in Hiroshima. Rawls then disobeyed an order to discipline a fellow soldier, "believing no punishment was justified," and was "demoted back to a private." Disenchanted, he left the military in January 1946.
Academic career
In early 1946, Rawls returned to Princeton to pursue a doctorate in moral philosophy. He married Margaret Warfield Fox, a Brown University graduate, in 1949. They had four children, Anne Warfield, Robert Lee, Alexander Emory, and Elizabeth Fox.
Rawls received his Ph.D. from Princeton in 1950 after completing a doctoral dissertation titled A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Rawls taught there until 1952 when he received a Fulbright Fellowship to Oxford University (Christ Church), where he was influenced by the liberal political theorist and historian Isaiah Berlin and the legal theorist H. L. A. Hart. After returning to the United States he served first as an assistant and then associate professor at Cornell University. In 1962, he became a full professor of philosophy at Cornell, and soon achieved a tenured position at MIT. That same year, he moved to Harvard University, where he taught for almost forty years and where he trained some of the leading contemporary figures in moral and political philosophy, including Sibyl-A-Schwarzenbach, Thomas Nagel, Allan Gibbard, Onora O'Neill, Adrian Piper, Arnold Davidson, Elizabeth S. Anderson, Christine Korsgaard, Susan Neiman, Claudia Card, Rainer Forst, Thomas Pogge, T. M. Scanlon, Barbara Herman, Joshua Cohen, Thomas E. Hill Jr., Gurcharan Das, Andreas Teuber, Samuel Freeman and Paul Weithman. He held the James Bryant Conant University Professorship at Harvard.
Later life
Rawls seldom gave interviews and, having both a stutter (partially caused by the deaths of two of his brothers, who died through infections contracted from Rawls) and a "bat-like horror of the limelight," did not become a public intellectual despite his fame. He instead remained committed mainly to his academic and family life.
In 1995, he suffered the first of several strokes, severely impeding his ability to continue to work. He was nevertheless able to complete The Law of Peoples, the most complete statement of his views on international justice, and published in 2001 shortly before his death Justice As Fairness: A Restatement, a response to criticisms of A Theory of Justice. Rawls died on November 24, 2002, at age 81, and was buried at the Mount Auburn Cemetery in Massachusetts. He was survived by his wife, Mard Rawls, and their four children, and four grandchildren.
Philosophical thought
Rawls published three main books. The first, A Theory of Justice, focused on distributive justice and attempted to reconcile the competing claims of the values of freedom and equality. The second, Political Liberalism, addressed the question of how citizens divided by intractable religious and philosophical disagreements could come to endorse a constitutional democratic regime. The third, The Law of Peoples, focused on the issue of global justice.
A Theory of Justice
A Theory of Justice, published in 1971, aimed to resolve the seemingly competing claims of freedom and equality. The shape Rawls's resolution took, however, was not that of a balancing act that compromised or weakened the moral claim of one value compared with the other. Rather, his intent was to show that notions of freedom and equality could be integrated into a seamless unity he called justice as fairness. By attempting to enhance the perspective which his readers should take when thinking about justice, Rawls hoped to show the supposed conflict between freedom and equality to be illusory.
Rawls's A Theory of Justice (1971) includes a thought experiment he called the "original position." The intuition motivating its employment is this: the enterprise of political philosophy will be greatly benefited by a specification of the correct standpoint a person should take in his or her thinking about justice. When we think about what it would mean for a just state of affairs to obtain between persons, we eliminate certain features (such as hair or eye color, height, race, etc.) and fixate upon others. Rawls's original position is meant to encode all of our intuitions about which features are relevant, and which irrelevant, for the purposes of deliberating well about justice.
The original position is Rawls' hypothetical scenario in which a group of persons is set the task of reaching an agreement about the kind of political and economic structure they want for a society, which they will then occupy. Each individual, however, deliberates behind a "veil of ignorance": each lacks knowledge, for example, of his or her gender, race, age, intelligence, wealth, skills, education and religion. The only thing that a given member knows about themselves is that they are in possession of the basic capacities necessary to fully and wilfully participate in an enduring system of mutual cooperation; each knows they can be a member of the society.
Rawls posits two basic capacities that the individuals would know themselves to possess. First, individuals know that they have the capacity to form, pursue and revise a conception of the good, or life plan. Exactly what sort of conception of the good this is, however, the individual does not yet know. It may be, for example, religious or secular, but at the start, the individual in the original position does not know which. Second, each individual understands him or herself to have the capacity to develop a sense of justice and a generally effective desire to abide by it. Knowing only these two features of themselves, the group will deliberate in order to design a social structure, during which each person will seek his or her maximal advantage. The idea is that proposals that we would ordinarily think of as unjust – such as that black people or women should not be allowed to hold public office – will not be proposed, in this, Rawls' original position, because it would be irrational to propose them. The reason is simple: one does not know whether he himself would be a woman or a black person. This position is expressed in the difference principle, according to which, in a system of ignorance about one's status, one would strive to improve the position of the worst off, because he might find himself in that position.
Rawls develops his original position by modelling it, in certain respects at least, after the "initial situations" of various social contract thinkers who came before him, including Thomas Hobbes, John Locke and Jean-Jacques Rousseau. Each social contractarian constructs his/her initial situation somewhat differently, having in mind a unique political morality s/he intends the thought experiment to generate. Iain King has suggested the original position draws on Rawls' experiences in post-war Japan, where the US Army was challenged with designing new social and political authorities for the country, while "imagining away all that had gone before."
In social justice processes, each person early on makes decisions about which features of persons to consider and which to ignore. Rawls's aspiration is to have created a thought experiment whereby a version of that process is carried to its completion, illuminating the correct standpoint a person should take in his or her thinking about justice. If he has succeeded, then the original position thought experiment may function as a full specification of the moral standpoint we should attempt to achieve when deliberating about social justice.
In setting out his theory, Rawls described his method as one of "reflective equilibrium," a concept which has since been used in other areas of philosophy. Reflective equilibrium is achieved by mutually adjusting one's general principles and one's considered judgements on particular cases, to bring the two into line with one another.
Principles of justice
Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick).
Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged.
Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls’ theory of justice stakes out the task of equalizing the distribution of primary social goods to those least advantaged in society and thus may be seen as a largely political answer to the question of justice, with matters of morality somewhat conflated into a political account of justice and just institutions. Relational approaches to the question of justice, by contrast, seek to examine the connections between individuals and focuses on their relations in societies, with respect to how these relationships are established and configured.
Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers.
Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice." In this respect, he understood justice as fairness as a contribution to "ideal theory," the determination of "principles that characterize a well-ordered society under favorable circumstances." Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory."
Political Liberalism
In Political Liberalism (1993), Rawls turned towards the question of political legitimacy in the context of intractable philosophical, religious, and moral disagreement amongst citizens regarding the human good. Such disagreement, he insisted, was reasonable – the result of the free exercise of human rationality under the conditions of open enquiry and free conscience that the liberal state is designed to safeguard. The question of legitimacy in the face of reasonable disagreement was urgent for Rawls because his own justification of Justice as Fairness relied upon a Kantian conception of the human good that can be reasonably rejected. If the political conception offered in A Theory of Justice can only be shown to be good by invoking a controversial conception of human flourishing, it is unclear how a liberal state ordered according to it could possibly be legitimate.
The intuition animating this seemingly new concern is actually no different from the guiding idea of A Theory of Justice, namely that the fundamental charter of a society must rely only on principles, arguments and reasons that cannot be reasonably rejected by the citizens whose lives will be limited by its social, legal, and political circumscriptions. In other words, the legitimacy of a law is contingent upon its justification being impossible to reasonably reject. This old insight took on a new shape, however, when Rawls realized that its application must extend to the deep justification of Justice as Fairness itself, which he had presented in terms of a reasonably rejectable (Kantian) conception of human flourishing as the free development of autonomous moral agency.
The core of Political Liberalism, accordingly, is its insistence that, in order to retain its legitimacy, the liberal state must commit itself to the "ideal of public reason." This roughly means that citizens in their public capacity must engage one another only in terms of reasons whose status as reasons is shared between them. Political reasoning, then, is to proceed purely in terms of "public reasons." For example: a Supreme Court justice deliberating on whether or not the denial to homosexuals of the ability to marry constitutes a violation of the 14th Amendment's Equal Protection Clause may not advert to his religious convictions on the matter, but he may take into account the argument that a same-sex household provides sub-optimal conditions for a child's development. This is because reasons based upon the interpretation of sacred text are non-public (their force as reasons relies upon faith commitments that can be reasonably rejected), whereas reasons that rely upon the value of providing children with environments in which they may develop optimally are public reasons – their status as reasons draws upon no deep, controversial conception of human flourishing.
Rawls held that the duty of civility – the duty of citizens to offer one another reasons that are mutually understood as reasons – applies within what he called the "public political forum." This forum extends from the upper reaches of government – for example the supreme legislative and judicial bodies of the society – all the way down to the deliberations of a citizen deciding for whom to vote in state legislatures or how to vote in public referenda. Campaigning politicians should also, he believed, refrain from pandering to the non-public religious or moral convictions of their constituencies.
The ideal of public reason secures the dominance of the public political values – freedom, equality, and fairness – that serve as the foundation of the liberal state. But what about the justification of these values? Since any such justification would necessarily draw upon deep (religious or moral) metaphysical commitments which would be reasonably rejectable, Rawls held that the public political values may only be justified privately by individual citizens. The public liberal political conception and its attendant values may and will be affirmed publicly (in judicial opinions and presidential addresses, for example) but its deep justifications will not. The task of justification falls to what Rawls called the "reasonable comprehensive doctrines" and the citizens who subscribe to them. A reasonable Catholic will justify the liberal values one way, a reasonable Muslim another, and a reasonable secular citizen yet another way. One may illustrate Rawls's idea using a Venn diagram: the public political values will be the shared space upon which overlap numerous reasonable comprehensive doctrines. Rawls's account of stability presented in A Theory of Justice is a detailed portrait of the compatibility of one – Kantian – comprehensive doctrine with justice as fairness. His hope is that similar accounts may be presented for many other comprehensive doctrines. This is Rawls's famous notion of an "overlapping consensus."
Such a consensus would necessarily exclude some doctrines, namely, those that are "unreasonable," and so one may wonder what Rawls has to say about such doctrines. An unreasonable comprehensive doctrine is unreasonable in the sense that it is incompatible with the duty of civility. This is simply another way of saying that an unreasonable doctrine is incompatible with the fundamental political values a liberal theory of justice is designed to safeguard – freedom, equality and fairness. So one answer to the question of what Rawls has to say about such doctrines is – nothing. For one thing, the liberal state cannot justify itself to individuals (such as religious fundamentalists) who hold to such doctrines, because any such justification would – as has been noted – proceed in terms of controversial moral or religious commitments that are excluded from the public political forum. But, more importantly, the goal of the Rawlsian project is primarily to determine whether or not the liberal conception of political legitimacy is internally coherent, and this project is carried out by the specification of what sorts of reasons persons committed to liberal values are permitted to use in their dialogue, deliberations and arguments with one another about political matters. The Rawlsian project has this goal to the exclusion of concern with justifying liberal values to those not already committed – or at least open – to them. Rawls's concern is with whether or not the idea of political legitimacy fleshed out in terms of the duty of civility and mutual justification can serve as a viable form of public discourse in the face of the religious and moral pluralism of modern democratic society, not with justifying this conception of political legitimacy in the first place.
Rawls also modified the principles of justice as follows (with the first principle having priority over the second, and the first half of the second having priority over the latter half):
Each person has an equal claim to a fully adequate scheme of basic rights and liberties, which scheme is compatible with the same scheme for all; and in this scheme the equal political liberties, and only those liberties, are to be guaranteed their fair value.
Social and economic inequalities are to satisfy two conditions: first, they are to be attached to positions and offices open to all under conditions of fair equality of opportunity; and second, they are to be to the greatest benefit of the least advantaged members of society.
These principles are subtly modified from the principles in Theory. The first principle now reads "equal claim" instead of "equal right," and he also replaces the phrase "system of basic liberties" with "a fully adequate scheme of equal basic rights and liberties." The two parts of the second principle are also switched, so that the difference principle becomes the latter of the three.
The Law of Peoples
Although there were passing comments on international affairs in A Theory of Justice, it was not until late in his career that Rawls formulated a comprehensive theory of international politics with the publication of The Law of Peoples. He claimed there that "well-ordered" peoples could be either "liberal" or "decent." Rawls's basic distinction in international politics is that his preferred emphasis on a society of peoples is separate from the more conventional and historical discussion of international politics as based on relationships between states.
Rawls argued that the legitimacy of a liberal international order is contingent on tolerating decent peoples, which differ from liberal peoples, among other ways, in that they might have state religions and deny adherents of minority faiths the right to hold positions of power within the state, and might organize political participation via consultation hierarchies rather than elections. However, no well-ordered peoples may violate human rights or behave in an externally aggressive manner. Peoples that fail to meet the criteria of "liberal" or "decent" peoples are referred to as 'outlaw states,' 'societies burdened by unfavourable conditions' or "benevolent absolutisms' depending on their particular failings. Such peoples do not have the right to mutual respect and toleration possessed by liberal and decent peoples.
Rawls's views on global distributive justice as they were expressed in this work surprised many of his fellow egalitarian liberals. For example, Charles Beitz had previously written a study that argued for the application of Rawls's Difference Principles globally. Rawls denied that his principles should be so applied, partly on the grounds that a world state does not exist and would not be stable. This notion has been challenged, as a comprehensive system of global governance has arisen, amongst others in the form of the Bretton Woods system, that serves to distribute primary social goods between human beings. It has thus been argued that a cosmopolitan application of the theory of justice as fairness is the more reasonable alternative to the application of The Law of Peoples, as it would be more legitimate towards all persons over whom political coercive power is exercised.
According to Rawls however, nation states, unlike citizens, were self-sufficient in the cooperative enterprises that constitute domestic societies. Although Rawls recognized that aid should be given to governments which are unable to protect human rights for economic reasons, he claimed that the purpose for this aid is not to achieve an eventual state of global equality, but rather only to ensure that these societies could maintain liberal or decent political institutions. He argued, among other things, that continuing to give aid indefinitely would see nations with industrious populations subsidize those with idle populations and would create a moral hazard problem where governments could spend irresponsibly in the knowledge that they will be bailed out by those nations who had spent responsibly.
Rawls's discussion of "non-ideal" theory, on the other hand, included a condemnation of bombing civilians and of the American bombing of German and Japanese cities in World War II, as well as discussions of immigration and nuclear proliferation. He also detailed here the ideal of the statesman, a political leader who looks to the next generation and promotes international harmony, even in the face of significant domestic pressure to act otherwise. Rawls also controversially claimed that violations of human rights can legitimize military intervention in the violating states, though he also expressed the hope that such societies could be induced to reform peacefully by the good example of liberal and decent peoples.
Influence and reception
Despite the exacting, academic tone of Rawls' writing and his reclusive personality, his philosophical work has exerted an enormous impact on not only contemporary moral and political philosophy but also public political discourse. During the student protests at Tiananmen Square in 1989, copies of "A Theory of Justice" were brandished by protesters in the face of government officials. Despite being approximately 600 pages long, over 300,000 copies of that book have been sold, stimulating critical responses from utilitarian, feminist, conservative, libertarian, Catholic, communitarian, Marxist and Green scholars, which Rawls welcomed.
Although having a profound influence on theories of distributive justice both in theory and in practice, the generally anti-meritocratic sentiment of Rawls' thinking has not been widely accepted by the political left. He consistently held the view that naturally developed skills and endowments could not be neatly distinguished from inherited ones, and that neither could be used to justify moral desert. Instead, he held the view that individuals could "legitimately expect" entitlements to the earning of income or development of abilities based on institutional arrangements. This aspect of Rawls' work has been instrumental in the development of such ideas as luck egalitarianism and unconditional basic income, which have themselves been criticized. The strictly egalitarian quality of Rawls' second principle of justice has called into question the type of equality that fair societies ought to embody.
The Communitarian Critique
Charles Taylor, Alasdair Macintyre, Michael Sandel, and Michael Walzer all have posed formidable oppositions to Rawls' theory of justice throughout their careers, stimulating a large reactionary body of normative and critical scholarship.
The September Group
The late philosopher G.A. Cohen, along with political scientist Jon Elster, and John Roemer used Rawls' writings extensively to inaugurate the Analytical Marxism movement in the 1980s.
The Frankfurt School
In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years", just ahead of Jürgen Habermas, whose scholarly work he engaged with during the later part of his career (see Habermas-Rawls debate), and Michel Foucault. Habermas' reading of Rawls lead to an appreciation of Rawls' work and other analytical philosophers by the esteemed Frankfurt School of critical theory, and many of Habermas' own students and associates were expected to be familiar with Rawls by the late 1980s. Rainer Forst, who was described in 2012 as the "most important political philosopher of his generation" was advised both by Rawls and Habermas in completing his PhD. Axel Honneth, Fabian Freyenhagen, and James Gordon Finlayson have also drawn on Rawls' work in comparison to Habermas.
Feminist political philosophy
Philosopher Eva Kittay has extended the work of John Rawls to address the concerns of women and the cognitively disabled.
Awards and honors
Bronze Star for radio work behind enemy lines in World War II.
Ralph Waldo Emerson Award (1972)
Member of the Norwegian Academy of Science and Letters (1992)
Schock Prize for Logic and Philosophy (1999)
National Humanities Medal (1999)
Asteroid 16561 Rawls is named in his honor.
Musical
John Rawls is featured as the protagonist of A Theory of Justice: The Musical!, an award-nominated musical comedy, which premiered at Oxford in 2013 and was revived for the Edinburgh Fringe Festival.
Publications
Bibliography
A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Ph.D. dissertation, Princeton University, 1950.
A Theory of Justice. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1971. The revised edition of 1999 incorporates changes that Rawls made for translated editions of A Theory of Justice. Some Rawls scholars use the abbreviation TJ to refer to this work.
Political Liberalism. The John Dewey Essays in Philosophy, 4. New York: Columbia University Press, 1993. The hardback edition published in 1993 is not identical. The paperback adds a valuable new introduction and an essay titled "Reply to Habermas." Some Rawls scholars use the abbreviation PL to refer to this work.
The Law of Peoples: with "The Idea of Public Reason Revisited." Cambridge, Massachusetts: Harvard University Press, 1999. This slim book includes two works; a further development of his essay entitled "The Law of Peoples" and another entitled "Public Reason Revisited," both published earlier in his career.
Collected Papers. Cambridge, Massachusetts: Harvard University Press, 1999. This collection of shorter papers was edited by Samuel Freeman.
Lectures on the History of Moral Philosophy. Cambridge, Massachusetts, Harvard University Press, 2000. This collection of lectures was edited by Barbara Herman. It has an introduction on modern moral philosophy from 1600 to 1800 and then lectures on Hume, Leibniz, Kant and Hegel.
Justice as Fairness: A Restatement. Cambridge, Massachusetts: Belknap Press, 2001. This shorter summary of the main arguments of Rawls's political philosophy was edited by Erin Kelly. Many versions of this were circulated in typescript and much of the material was delivered by Rawls in lectures when he taught courses covering his own work at Harvard University.
Lectures on the History of Political Philosophy. Cambridge, Massachusetts: Harvard University Press, 2007. Collection of lectures on Thomas Hobbes, John Locke, Joseph Butler, Jean-Jacques Rousseau, David Hume, John Stuart Mill and Karl Marx, edited by Samuel Freeman.
A Brief Inquiry into the Meaning of Sin and Faith. Cambridge, Massachusetts, Harvard University Press, 2010. With introduction and commentary by Thomas Nagel, Joshua Cohen and Robert Merrihew Adams. Senior thesis, Princeton, 1942. This volume includes a brief late essay by Rawls entitled On My Religion.
Articles
"Outline of a Decision Procedure for Ethics." Philosophical Review (April 1951), 60 (2): 177–97.
"Two Concepts of Rules." Philosophical Review (January 1955), 64 (1):3–32.
"Justice as Fairness." Journal of Philosophy (October 24, 1957), 54 (22): 653–62.
"Justice as Fairness." Philosophical Review (April 1958), 67 (2): 164–94.
"The Sense of Justice." Philosophical Review (July 1963), 72 (3): 281–305.
"Constitutional Liberty and the Concept of Justice" Nomos VI (1963)
"Distributive Justice: Some Addenda." Natural Law Forum (1968), 13: 51–71.
"Reply to Lyons and Teitelman." Journal of Philosophy (October 5, 1972), 69 (18): 556–57.
"Reply to Alexander and Musgrave." Quarterly Journal of Economics (November 1974), 88 (4): 633–55.
"Some Reasons for the Maximin Criterion." American Economic Review (May 1974), 64 (2): 141–46.
"Fairness to Goodness." Philosophical Review (October 1975), 84 (4): 536–54.
"The Independence of Moral Theory." Proceedings and Addresses of the American Philosophical Association (November 1975), 48: 5–22.
"A Kantian Conception of Equality." Cambridge Review (February 1975), 96 (2225): 94–99.
"The Basic Structure as Subject." American Philosophical Quarterly (April 1977), 14 (2): 159–65.
"Kantian Constructivism in Moral Theory." Journal of Philosophy (September 1980), 77 (9): 515–72.
"Justice as Fairness: Political not Metaphysical." Philosophy & Public Affairs (Summer 1985), 14 (3): 223–51.
"The Idea of an Overlapping Consensus." Oxford Journal for Legal Studies (Spring 1987), 7 (1): 1–25.
"The Priority of Right and Ideas of the Good." Philosophy & Public Affairs (Fall 1988), 17 (4): 251–76.
"The Domain of the Political and Overlapping Consensus." New York University Law Review (May 1989), 64 (2): 233–55.
"Roderick Firth: His Life and Work." Philosophy and Phenomenological Research (March 1991), 51 (1): 109–18.
"The Law of Peoples." Critical Inquiry (Fall 1993), 20 (1): 36–68.
"Political Liberalism: Reply to Habermas." Journal of Philosophy (March 1995), 92 (3):132–80.
"The Idea of Public Reason Revisited." Chicago Law Review (1997), 64 (3): 765–807. [PRR]
Book chapters
"Constitutional Liberty and the Concept of Justice." In Carl J. Friedrich and John W. Chapman, eds., Nomos, VI: Justice, pp. 98–125. Yearbook of the American Society for Political and Legal Philosophy. New York: Atherton Press, 1963.
"Legal Obligation and the Duty of Fair Play." In Sidney Hook, ed., Law and Philosophy: A Symposium, pp. 3–18. New York: New York University Press, 1964. Proceedings of the 6th Annual New York University Institute of Philosophy.
"Distributive Justice." In Peter Laslett and W. G. Runciman, eds., Philosophy, Politics, and Society. Third Series, pp. 58–82. London: Blackwell; New York: Barnes & Noble, 1967.
"The Justification of Civil Disobedience." In Hugo Adam Bedau, ed., Civil Disobedience: Theory and Practice, pp. 240–55. New York: Pegasus Books, 1969.
"Justice as Reciprocity." In Samuel Gorovitz, ed., Utilitarianism: John Stuart Mill: With Critical Essays, pp. 242–68. New York: Bobbs-Merrill, 1971.
"Author's Note." In Thomas Schwartz, ed., Freedom and Authority: An Introduction to Social and Political Philosophy, p. 260. Encino & Belmont, California: Dickenson, 1973.
"Distributive Justice." In Edmund S. Phelps, ed., Economic Justice: Selected Readings, pp. 319–62. Penguin Modern Economics Readings. Harmondsworth & Baltimore: Penguin Books, 1973.
"Personal Communication, January 31, 1976." In Thomas Nagel's "The Justification of Equality." Critica (April 1978), 10 (28): 9n4.
"The Basic Liberties and Their Priority." In Sterling M. McMurrin, ed., The Tanner Lectures on Human Values, III (1982), pp. 1–87. Salt Lake City: University of Utah Press; Cambridge: Cambridge University Press, 1982.
"Social unity and primary goods" in
"Themes in Kant's Moral Philosophy." In Eckhart Forster, ed., Kant's Transcendental Deductions: The Three Critiques and the Opus postumum, pp. 81–113, 253–56. Stanford Series in Philosophy. Studies in Kant and German Idealism. Stanford, California: Stanford University Press, 1989.
Reviews
Review of Axel Hägerström's Inquiries into the Nature of Law and Morals (C.D. Broad, tr.). Mind (July 1955), 64 (255):421–22.
Review of Stephen Toulmin's An Examination of the Place of Reason in Ethics (1950). Philosophical Review (October 1951), 60 (4): 572–80.
Review of A. Vilhelm Lundstedt's Legal Thinking Revised. Cornell Law Quarterly (1959), 44: 169.
Review of Raymond Klibansky, ed., Philosophy in Mid-Century: A Survey. Philosophical Review (January 1961), 70 (1): 131–32.
Review of Richard B. Brandt, ed., Social Justice (1962). Philosophical Review (July 1965), 74(3): 406–09.
See also
Anarchy, State, and Utopia
List of American philosophers
List of liberal theorists
Philosophy of economics
A Theory of Justice: The Musical!
Notes
References
Freeman, S. (2007) Rawls (Routledge, Abingdon)
Freeman, Samuel (2009) "Original Position" (The Stanford Encyclopedia of Philosophy, Original Position)
Rawls, J. (1993/1996/2005) Political Liberalism (Columbia University Press, New York)
Rogers, B. (27.09.02) "Obituary: John Rawls" Obituary: John Rawls
Tampio, N. (2011) "A Defense of Political Constructivism" (Contemporary Political Theory, A defense of political constructivism)
Wenar, Leif (2008) "John Rawls" (The Stanford Encyclopedia of Philosophy, John Rawls)
External links
Audio recordings of Rawls' 1983 lecture course "Modern Political Philosophy"
Cambridge Rawls Lexicon
Internet Encyclopedia of Philosophy Entry on John Rawls by Henry S. Richardson
Internet Encyclopedia of Philosophy Entry on Political Constructivisim by Michael Buckley
Stanford Encyclopedia of Philosophy Entry on John Rawls by Leif Wenar
Stanford Encyclopedia of Philosophy Entry on Original Position by Fred D'Agostino
Stanford Encyclopedia of Philosophy Entry on Reflective Equilibrium by Norman Daniels
John Rawls on Google Scholar
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| true |
[
"The Rydberg–Ritz combination principle is an empirical generalization proposed by Walther Ritz in 1908 to describe the relationship of the spectral lines for all atoms. The principle states that the spectral lines of any element include frequencies that are either the sum or the difference of the frequencies of two other lines. Lines of the spectra of elements could be predicted from existing lines. Since the frequency of light is proportional to the wavenumber or reciprocal wavelength, the principle can also be expressed in terms of wavenumbers which are the sum or difference of wavenumbers of two other lines.\n\nAnother related version is that the wavenumber or reciprocal wavelength of each spectral line can be written as the difference of two terms. The simplest example is the hydrogen atom, described by the Rydberg formula\n\nwhere is the wavelength, is the Rydberg constant, and and are positive integers such that . This is the difference of two terms of form .\n\nRelation to quantum theory\nThe combination principle is explained using quantum theory. Light consists of photons whose energy E is proportional to the frequency ν and wavenumber of the light: E = hν = hc/λ (where h is the Planck constant, c is the speed of light, and λ is the wavelength. A combination of frequencies or wavenumbers is then equivalent to a combination of energies.\n\nAccording to the quantum theory of the hydrogen atom proposed by Niels Bohr in 1913, an atom can have only certain energy levels. Absorption or emission of a particle of light or photon corresponds to a transition between two possible energy levels, and the photon energy equals the difference between their two energies. On dividing by hc, the photon wavenumber equals the difference between two terms, each equal to an energy divided by hc or an energy in wavenumber units (cm–1). Energy levels of atoms and molecules are today described by term symbols which indicate their quantum numbers.\n\nAlso, a transition from an initial to a final energy level involves the same energy change whether it occurs in a single step or in two steps via an intermediate state. The energy of transition in a single step is the sum of the energies of transition in two steps: (E3 – E1) = (E2 – E1) + (E3 – E2). \n\nThe NIST database tables of lines of spectra contains observed lines and the lines calculated by use of the Ritz combination principle.\n\nHistory\nThe spectral lines of hydrogen had been analyzed and found to have a mathematical relationship in the Balmer series. This was later extended to a general formula called the Rydberg formula. This could only be applied to hydrogen-like atoms. In 1908 Ritz derived a relationship that could be applied to all atoms. This principle, the Rydberg–Ritz combination principle, is used today in identifying the transition lines of atoms.\n\nReferences\n\nExternal links\n \n\nEmission spectroscopy",
"In a natural circulation boiler the circulation is achieved by the difference in density when the water in the boiler is heated. In natural circulation steam boilers the circulation of water is by convection currents, which are set up during the heating of water. In most of the boilers there is a natural circulation of water the fundamental principle of which is based on the principle of Thermosiphon.\n\nSee also\nControlled circulation\nForced circulation boiler \nOnce through steam generator \n\nBoilers"
] |
[
"John Rawls",
"Principles of justice",
"What is the Principles of justice?",
"The first of these is the Liberty Principle,",
"What is the Liberty Principle?",
"establishes equal basic liberties for all citizens.",
"What is another principle?",
"a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle.",
"Why is the difference principle controversial?",
"I don't know.",
"What is the Fair Equality of Opportunity principle?",
"wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals.",
"What is the difference principle?",
"those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged."
] |
C_fbdc972b162d4afc9a73b6e6d63c5bb1_1
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Are there more principles of justice?
| 7 |
Are there more principles of justice?
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John Rawls
|
Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick). Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged. Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers. Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice". In this respect, he understood justice as fairness as a contribution to "ideal theory", the determination of "principles that characterize a well-ordered society under favorable circumstances". Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory". CANNOTANSWER
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Rawls derives two principles of justice from the original position.
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John Bordley Rawls (; February 21, 1921 – November 24, 2002) was an American moral and political philosopher in the liberal tradition. Rawls received both the Schock Prize for Logic and Philosophy and the National Humanities Medal in 1999, the latter presented by President Bill Clinton, in recognition of how Rawls's work "revived the disciplines of political and ethical philosophy with his argument that a society in which the most fortunate help the least fortunate is not only a moral society but a logical one".
In 1990, Will Kymlicka wrote in his introduction to the field that "it is generally accepted that the recent rebirth of normative political philosophy began with the publication of John Rawls's A Theory of Justice in 1971". Rawls has often been described as one of the most influential political philosophers of the 20th century. He has the unusual distinction among contemporary political philosophers of being frequently cited by the courts of law in the United States and Canada and referred to by practising politicians in the United States and the United Kingdom. In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years".
Rawls's theory of "justice as fairness" recommends equal basic liberties, equality of opportunity, and facilitating the maximum benefit to the least advantaged members of society in any case where inequalities may occur. Rawls's argument for these principles of social justice uses a thought experiment called the "original position", in which people deliberately select what kind of society they would choose to live in if they did not know which social position they would personally occupy. In his later work Political Liberalism (1993), Rawls turned to the question of how political power could be made legitimate given reasonable disagreement about the nature of the good life.
Biography
Early life
Rawls was born in Baltimore, Maryland. He was the second of five sons born to William Lee Rawls, a prominent Baltimore attorney, and Anna Abell Stump Rawls. Tragedy struck Rawls at a young age:
Two of his brothers died in childhood because they had contracted fatal illnesses from him. ... In 1928, the seven-year-old Rawls contracted diphtheria. His brother Bobby, younger by 20 months, visited him in his room and was fatally infected. The next winter, Rawls contracted pneumonia. Another younger brother, Tommy, caught the illness from him and died.
Rawls's biographer Thomas Pogge calls the loss of the brothers the "most important events in John's childhood."
Rawls graduated from the Calvert School in Baltimore before enrolling in the Kent School, an Episcopalian preparatory school in Connecticut. Upon graduation in 1939, Rawls attended Princeton University, where he was accepted into The Ivy Club and the American Whig-Cliosophic Society. At Princeton, Rawls was influenced by Norman Malcolm, Ludwig Wittgenstein's student. During his last two years at Princeton, he "became deeply concerned with theology and its doctrines." He considered attending a seminary to study for the Episcopal priesthood and wrote an "intensely religious senior thesis (BI)." In his 181-page long thesis titled "Meaning of Sin and Faith," Rawls attacked Pelagianism because it "would render the Cross of Christ to no effect." His argument was partly drawn from Karl Marx's book On the Jewish Question, which criticized the idea that natural inequality in ability could be a just determiner of the distribution of wealth in society. Even after Rawls became an atheist, many of the anti-Pelagian arguments he used were repeated in A Theory of Justice. Rawls graduated from Princeton in 1943 with a Bachelor of Arts summa cum laude.
Military service, 1943–46
Rawls enlisted in the U.S. Army in February 1943. During World War II, Rawls served as an infantryman in the Pacific, where he served a tour of duty in New Guinea and was awarded a Bronze Star; and the Philippines, where he endured intensive trench warfare and witnessed traumatizing scenes of violence and bloodshed. It was there that he lost his Christian faith and became an atheist.
Following the surrender of Japan, Rawls became part of General MacArthur's occupying army and was promoted to sergeant. But he became disillusioned with the military when he saw the aftermath of the atomic blast in Hiroshima. Rawls then disobeyed an order to discipline a fellow soldier, "believing no punishment was justified," and was "demoted back to a private." Disenchanted, he left the military in January 1946.
Academic career
In early 1946, Rawls returned to Princeton to pursue a doctorate in moral philosophy. He married Margaret Warfield Fox, a Brown University graduate, in 1949. They had four children, Anne Warfield, Robert Lee, Alexander Emory, and Elizabeth Fox.
Rawls received his Ph.D. from Princeton in 1950 after completing a doctoral dissertation titled A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Rawls taught there until 1952 when he received a Fulbright Fellowship to Oxford University (Christ Church), where he was influenced by the liberal political theorist and historian Isaiah Berlin and the legal theorist H. L. A. Hart. After returning to the United States he served first as an assistant and then associate professor at Cornell University. In 1962, he became a full professor of philosophy at Cornell, and soon achieved a tenured position at MIT. That same year, he moved to Harvard University, where he taught for almost forty years and where he trained some of the leading contemporary figures in moral and political philosophy, including Sibyl-A-Schwarzenbach, Thomas Nagel, Allan Gibbard, Onora O'Neill, Adrian Piper, Arnold Davidson, Elizabeth S. Anderson, Christine Korsgaard, Susan Neiman, Claudia Card, Rainer Forst, Thomas Pogge, T. M. Scanlon, Barbara Herman, Joshua Cohen, Thomas E. Hill Jr., Gurcharan Das, Andreas Teuber, Samuel Freeman and Paul Weithman. He held the James Bryant Conant University Professorship at Harvard.
Later life
Rawls seldom gave interviews and, having both a stutter (partially caused by the deaths of two of his brothers, who died through infections contracted from Rawls) and a "bat-like horror of the limelight," did not become a public intellectual despite his fame. He instead remained committed mainly to his academic and family life.
In 1995, he suffered the first of several strokes, severely impeding his ability to continue to work. He was nevertheless able to complete The Law of Peoples, the most complete statement of his views on international justice, and published in 2001 shortly before his death Justice As Fairness: A Restatement, a response to criticisms of A Theory of Justice. Rawls died on November 24, 2002, at age 81, and was buried at the Mount Auburn Cemetery in Massachusetts. He was survived by his wife, Mard Rawls, and their four children, and four grandchildren.
Philosophical thought
Rawls published three main books. The first, A Theory of Justice, focused on distributive justice and attempted to reconcile the competing claims of the values of freedom and equality. The second, Political Liberalism, addressed the question of how citizens divided by intractable religious and philosophical disagreements could come to endorse a constitutional democratic regime. The third, The Law of Peoples, focused on the issue of global justice.
A Theory of Justice
A Theory of Justice, published in 1971, aimed to resolve the seemingly competing claims of freedom and equality. The shape Rawls's resolution took, however, was not that of a balancing act that compromised or weakened the moral claim of one value compared with the other. Rather, his intent was to show that notions of freedom and equality could be integrated into a seamless unity he called justice as fairness. By attempting to enhance the perspective which his readers should take when thinking about justice, Rawls hoped to show the supposed conflict between freedom and equality to be illusory.
Rawls's A Theory of Justice (1971) includes a thought experiment he called the "original position." The intuition motivating its employment is this: the enterprise of political philosophy will be greatly benefited by a specification of the correct standpoint a person should take in his or her thinking about justice. When we think about what it would mean for a just state of affairs to obtain between persons, we eliminate certain features (such as hair or eye color, height, race, etc.) and fixate upon others. Rawls's original position is meant to encode all of our intuitions about which features are relevant, and which irrelevant, for the purposes of deliberating well about justice.
The original position is Rawls' hypothetical scenario in which a group of persons is set the task of reaching an agreement about the kind of political and economic structure they want for a society, which they will then occupy. Each individual, however, deliberates behind a "veil of ignorance": each lacks knowledge, for example, of his or her gender, race, age, intelligence, wealth, skills, education and religion. The only thing that a given member knows about themselves is that they are in possession of the basic capacities necessary to fully and wilfully participate in an enduring system of mutual cooperation; each knows they can be a member of the society.
Rawls posits two basic capacities that the individuals would know themselves to possess. First, individuals know that they have the capacity to form, pursue and revise a conception of the good, or life plan. Exactly what sort of conception of the good this is, however, the individual does not yet know. It may be, for example, religious or secular, but at the start, the individual in the original position does not know which. Second, each individual understands him or herself to have the capacity to develop a sense of justice and a generally effective desire to abide by it. Knowing only these two features of themselves, the group will deliberate in order to design a social structure, during which each person will seek his or her maximal advantage. The idea is that proposals that we would ordinarily think of as unjust – such as that black people or women should not be allowed to hold public office – will not be proposed, in this, Rawls' original position, because it would be irrational to propose them. The reason is simple: one does not know whether he himself would be a woman or a black person. This position is expressed in the difference principle, according to which, in a system of ignorance about one's status, one would strive to improve the position of the worst off, because he might find himself in that position.
Rawls develops his original position by modelling it, in certain respects at least, after the "initial situations" of various social contract thinkers who came before him, including Thomas Hobbes, John Locke and Jean-Jacques Rousseau. Each social contractarian constructs his/her initial situation somewhat differently, having in mind a unique political morality s/he intends the thought experiment to generate. Iain King has suggested the original position draws on Rawls' experiences in post-war Japan, where the US Army was challenged with designing new social and political authorities for the country, while "imagining away all that had gone before."
In social justice processes, each person early on makes decisions about which features of persons to consider and which to ignore. Rawls's aspiration is to have created a thought experiment whereby a version of that process is carried to its completion, illuminating the correct standpoint a person should take in his or her thinking about justice. If he has succeeded, then the original position thought experiment may function as a full specification of the moral standpoint we should attempt to achieve when deliberating about social justice.
In setting out his theory, Rawls described his method as one of "reflective equilibrium," a concept which has since been used in other areas of philosophy. Reflective equilibrium is achieved by mutually adjusting one's general principles and one's considered judgements on particular cases, to bring the two into line with one another.
Principles of justice
Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick).
Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged.
Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls’ theory of justice stakes out the task of equalizing the distribution of primary social goods to those least advantaged in society and thus may be seen as a largely political answer to the question of justice, with matters of morality somewhat conflated into a political account of justice and just institutions. Relational approaches to the question of justice, by contrast, seek to examine the connections between individuals and focuses on their relations in societies, with respect to how these relationships are established and configured.
Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers.
Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice." In this respect, he understood justice as fairness as a contribution to "ideal theory," the determination of "principles that characterize a well-ordered society under favorable circumstances." Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory."
Political Liberalism
In Political Liberalism (1993), Rawls turned towards the question of political legitimacy in the context of intractable philosophical, religious, and moral disagreement amongst citizens regarding the human good. Such disagreement, he insisted, was reasonable – the result of the free exercise of human rationality under the conditions of open enquiry and free conscience that the liberal state is designed to safeguard. The question of legitimacy in the face of reasonable disagreement was urgent for Rawls because his own justification of Justice as Fairness relied upon a Kantian conception of the human good that can be reasonably rejected. If the political conception offered in A Theory of Justice can only be shown to be good by invoking a controversial conception of human flourishing, it is unclear how a liberal state ordered according to it could possibly be legitimate.
The intuition animating this seemingly new concern is actually no different from the guiding idea of A Theory of Justice, namely that the fundamental charter of a society must rely only on principles, arguments and reasons that cannot be reasonably rejected by the citizens whose lives will be limited by its social, legal, and political circumscriptions. In other words, the legitimacy of a law is contingent upon its justification being impossible to reasonably reject. This old insight took on a new shape, however, when Rawls realized that its application must extend to the deep justification of Justice as Fairness itself, which he had presented in terms of a reasonably rejectable (Kantian) conception of human flourishing as the free development of autonomous moral agency.
The core of Political Liberalism, accordingly, is its insistence that, in order to retain its legitimacy, the liberal state must commit itself to the "ideal of public reason." This roughly means that citizens in their public capacity must engage one another only in terms of reasons whose status as reasons is shared between them. Political reasoning, then, is to proceed purely in terms of "public reasons." For example: a Supreme Court justice deliberating on whether or not the denial to homosexuals of the ability to marry constitutes a violation of the 14th Amendment's Equal Protection Clause may not advert to his religious convictions on the matter, but he may take into account the argument that a same-sex household provides sub-optimal conditions for a child's development. This is because reasons based upon the interpretation of sacred text are non-public (their force as reasons relies upon faith commitments that can be reasonably rejected), whereas reasons that rely upon the value of providing children with environments in which they may develop optimally are public reasons – their status as reasons draws upon no deep, controversial conception of human flourishing.
Rawls held that the duty of civility – the duty of citizens to offer one another reasons that are mutually understood as reasons – applies within what he called the "public political forum." This forum extends from the upper reaches of government – for example the supreme legislative and judicial bodies of the society – all the way down to the deliberations of a citizen deciding for whom to vote in state legislatures or how to vote in public referenda. Campaigning politicians should also, he believed, refrain from pandering to the non-public religious or moral convictions of their constituencies.
The ideal of public reason secures the dominance of the public political values – freedom, equality, and fairness – that serve as the foundation of the liberal state. But what about the justification of these values? Since any such justification would necessarily draw upon deep (religious or moral) metaphysical commitments which would be reasonably rejectable, Rawls held that the public political values may only be justified privately by individual citizens. The public liberal political conception and its attendant values may and will be affirmed publicly (in judicial opinions and presidential addresses, for example) but its deep justifications will not. The task of justification falls to what Rawls called the "reasonable comprehensive doctrines" and the citizens who subscribe to them. A reasonable Catholic will justify the liberal values one way, a reasonable Muslim another, and a reasonable secular citizen yet another way. One may illustrate Rawls's idea using a Venn diagram: the public political values will be the shared space upon which overlap numerous reasonable comprehensive doctrines. Rawls's account of stability presented in A Theory of Justice is a detailed portrait of the compatibility of one – Kantian – comprehensive doctrine with justice as fairness. His hope is that similar accounts may be presented for many other comprehensive doctrines. This is Rawls's famous notion of an "overlapping consensus."
Such a consensus would necessarily exclude some doctrines, namely, those that are "unreasonable," and so one may wonder what Rawls has to say about such doctrines. An unreasonable comprehensive doctrine is unreasonable in the sense that it is incompatible with the duty of civility. This is simply another way of saying that an unreasonable doctrine is incompatible with the fundamental political values a liberal theory of justice is designed to safeguard – freedom, equality and fairness. So one answer to the question of what Rawls has to say about such doctrines is – nothing. For one thing, the liberal state cannot justify itself to individuals (such as religious fundamentalists) who hold to such doctrines, because any such justification would – as has been noted – proceed in terms of controversial moral or religious commitments that are excluded from the public political forum. But, more importantly, the goal of the Rawlsian project is primarily to determine whether or not the liberal conception of political legitimacy is internally coherent, and this project is carried out by the specification of what sorts of reasons persons committed to liberal values are permitted to use in their dialogue, deliberations and arguments with one another about political matters. The Rawlsian project has this goal to the exclusion of concern with justifying liberal values to those not already committed – or at least open – to them. Rawls's concern is with whether or not the idea of political legitimacy fleshed out in terms of the duty of civility and mutual justification can serve as a viable form of public discourse in the face of the religious and moral pluralism of modern democratic society, not with justifying this conception of political legitimacy in the first place.
Rawls also modified the principles of justice as follows (with the first principle having priority over the second, and the first half of the second having priority over the latter half):
Each person has an equal claim to a fully adequate scheme of basic rights and liberties, which scheme is compatible with the same scheme for all; and in this scheme the equal political liberties, and only those liberties, are to be guaranteed their fair value.
Social and economic inequalities are to satisfy two conditions: first, they are to be attached to positions and offices open to all under conditions of fair equality of opportunity; and second, they are to be to the greatest benefit of the least advantaged members of society.
These principles are subtly modified from the principles in Theory. The first principle now reads "equal claim" instead of "equal right," and he also replaces the phrase "system of basic liberties" with "a fully adequate scheme of equal basic rights and liberties." The two parts of the second principle are also switched, so that the difference principle becomes the latter of the three.
The Law of Peoples
Although there were passing comments on international affairs in A Theory of Justice, it was not until late in his career that Rawls formulated a comprehensive theory of international politics with the publication of The Law of Peoples. He claimed there that "well-ordered" peoples could be either "liberal" or "decent." Rawls's basic distinction in international politics is that his preferred emphasis on a society of peoples is separate from the more conventional and historical discussion of international politics as based on relationships between states.
Rawls argued that the legitimacy of a liberal international order is contingent on tolerating decent peoples, which differ from liberal peoples, among other ways, in that they might have state religions and deny adherents of minority faiths the right to hold positions of power within the state, and might organize political participation via consultation hierarchies rather than elections. However, no well-ordered peoples may violate human rights or behave in an externally aggressive manner. Peoples that fail to meet the criteria of "liberal" or "decent" peoples are referred to as 'outlaw states,' 'societies burdened by unfavourable conditions' or "benevolent absolutisms' depending on their particular failings. Such peoples do not have the right to mutual respect and toleration possessed by liberal and decent peoples.
Rawls's views on global distributive justice as they were expressed in this work surprised many of his fellow egalitarian liberals. For example, Charles Beitz had previously written a study that argued for the application of Rawls's Difference Principles globally. Rawls denied that his principles should be so applied, partly on the grounds that a world state does not exist and would not be stable. This notion has been challenged, as a comprehensive system of global governance has arisen, amongst others in the form of the Bretton Woods system, that serves to distribute primary social goods between human beings. It has thus been argued that a cosmopolitan application of the theory of justice as fairness is the more reasonable alternative to the application of The Law of Peoples, as it would be more legitimate towards all persons over whom political coercive power is exercised.
According to Rawls however, nation states, unlike citizens, were self-sufficient in the cooperative enterprises that constitute domestic societies. Although Rawls recognized that aid should be given to governments which are unable to protect human rights for economic reasons, he claimed that the purpose for this aid is not to achieve an eventual state of global equality, but rather only to ensure that these societies could maintain liberal or decent political institutions. He argued, among other things, that continuing to give aid indefinitely would see nations with industrious populations subsidize those with idle populations and would create a moral hazard problem where governments could spend irresponsibly in the knowledge that they will be bailed out by those nations who had spent responsibly.
Rawls's discussion of "non-ideal" theory, on the other hand, included a condemnation of bombing civilians and of the American bombing of German and Japanese cities in World War II, as well as discussions of immigration and nuclear proliferation. He also detailed here the ideal of the statesman, a political leader who looks to the next generation and promotes international harmony, even in the face of significant domestic pressure to act otherwise. Rawls also controversially claimed that violations of human rights can legitimize military intervention in the violating states, though he also expressed the hope that such societies could be induced to reform peacefully by the good example of liberal and decent peoples.
Influence and reception
Despite the exacting, academic tone of Rawls' writing and his reclusive personality, his philosophical work has exerted an enormous impact on not only contemporary moral and political philosophy but also public political discourse. During the student protests at Tiananmen Square in 1989, copies of "A Theory of Justice" were brandished by protesters in the face of government officials. Despite being approximately 600 pages long, over 300,000 copies of that book have been sold, stimulating critical responses from utilitarian, feminist, conservative, libertarian, Catholic, communitarian, Marxist and Green scholars, which Rawls welcomed.
Although having a profound influence on theories of distributive justice both in theory and in practice, the generally anti-meritocratic sentiment of Rawls' thinking has not been widely accepted by the political left. He consistently held the view that naturally developed skills and endowments could not be neatly distinguished from inherited ones, and that neither could be used to justify moral desert. Instead, he held the view that individuals could "legitimately expect" entitlements to the earning of income or development of abilities based on institutional arrangements. This aspect of Rawls' work has been instrumental in the development of such ideas as luck egalitarianism and unconditional basic income, which have themselves been criticized. The strictly egalitarian quality of Rawls' second principle of justice has called into question the type of equality that fair societies ought to embody.
The Communitarian Critique
Charles Taylor, Alasdair Macintyre, Michael Sandel, and Michael Walzer all have posed formidable oppositions to Rawls' theory of justice throughout their careers, stimulating a large reactionary body of normative and critical scholarship.
The September Group
The late philosopher G.A. Cohen, along with political scientist Jon Elster, and John Roemer used Rawls' writings extensively to inaugurate the Analytical Marxism movement in the 1980s.
The Frankfurt School
In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years", just ahead of Jürgen Habermas, whose scholarly work he engaged with during the later part of his career (see Habermas-Rawls debate), and Michel Foucault. Habermas' reading of Rawls lead to an appreciation of Rawls' work and other analytical philosophers by the esteemed Frankfurt School of critical theory, and many of Habermas' own students and associates were expected to be familiar with Rawls by the late 1980s. Rainer Forst, who was described in 2012 as the "most important political philosopher of his generation" was advised both by Rawls and Habermas in completing his PhD. Axel Honneth, Fabian Freyenhagen, and James Gordon Finlayson have also drawn on Rawls' work in comparison to Habermas.
Feminist political philosophy
Philosopher Eva Kittay has extended the work of John Rawls to address the concerns of women and the cognitively disabled.
Awards and honors
Bronze Star for radio work behind enemy lines in World War II.
Ralph Waldo Emerson Award (1972)
Member of the Norwegian Academy of Science and Letters (1992)
Schock Prize for Logic and Philosophy (1999)
National Humanities Medal (1999)
Asteroid 16561 Rawls is named in his honor.
Musical
John Rawls is featured as the protagonist of A Theory of Justice: The Musical!, an award-nominated musical comedy, which premiered at Oxford in 2013 and was revived for the Edinburgh Fringe Festival.
Publications
Bibliography
A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Ph.D. dissertation, Princeton University, 1950.
A Theory of Justice. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1971. The revised edition of 1999 incorporates changes that Rawls made for translated editions of A Theory of Justice. Some Rawls scholars use the abbreviation TJ to refer to this work.
Political Liberalism. The John Dewey Essays in Philosophy, 4. New York: Columbia University Press, 1993. The hardback edition published in 1993 is not identical. The paperback adds a valuable new introduction and an essay titled "Reply to Habermas." Some Rawls scholars use the abbreviation PL to refer to this work.
The Law of Peoples: with "The Idea of Public Reason Revisited." Cambridge, Massachusetts: Harvard University Press, 1999. This slim book includes two works; a further development of his essay entitled "The Law of Peoples" and another entitled "Public Reason Revisited," both published earlier in his career.
Collected Papers. Cambridge, Massachusetts: Harvard University Press, 1999. This collection of shorter papers was edited by Samuel Freeman.
Lectures on the History of Moral Philosophy. Cambridge, Massachusetts, Harvard University Press, 2000. This collection of lectures was edited by Barbara Herman. It has an introduction on modern moral philosophy from 1600 to 1800 and then lectures on Hume, Leibniz, Kant and Hegel.
Justice as Fairness: A Restatement. Cambridge, Massachusetts: Belknap Press, 2001. This shorter summary of the main arguments of Rawls's political philosophy was edited by Erin Kelly. Many versions of this were circulated in typescript and much of the material was delivered by Rawls in lectures when he taught courses covering his own work at Harvard University.
Lectures on the History of Political Philosophy. Cambridge, Massachusetts: Harvard University Press, 2007. Collection of lectures on Thomas Hobbes, John Locke, Joseph Butler, Jean-Jacques Rousseau, David Hume, John Stuart Mill and Karl Marx, edited by Samuel Freeman.
A Brief Inquiry into the Meaning of Sin and Faith. Cambridge, Massachusetts, Harvard University Press, 2010. With introduction and commentary by Thomas Nagel, Joshua Cohen and Robert Merrihew Adams. Senior thesis, Princeton, 1942. This volume includes a brief late essay by Rawls entitled On My Religion.
Articles
"Outline of a Decision Procedure for Ethics." Philosophical Review (April 1951), 60 (2): 177–97.
"Two Concepts of Rules." Philosophical Review (January 1955), 64 (1):3–32.
"Justice as Fairness." Journal of Philosophy (October 24, 1957), 54 (22): 653–62.
"Justice as Fairness." Philosophical Review (April 1958), 67 (2): 164–94.
"The Sense of Justice." Philosophical Review (July 1963), 72 (3): 281–305.
"Constitutional Liberty and the Concept of Justice" Nomos VI (1963)
"Distributive Justice: Some Addenda." Natural Law Forum (1968), 13: 51–71.
"Reply to Lyons and Teitelman." Journal of Philosophy (October 5, 1972), 69 (18): 556–57.
"Reply to Alexander and Musgrave." Quarterly Journal of Economics (November 1974), 88 (4): 633–55.
"Some Reasons for the Maximin Criterion." American Economic Review (May 1974), 64 (2): 141–46.
"Fairness to Goodness." Philosophical Review (October 1975), 84 (4): 536–54.
"The Independence of Moral Theory." Proceedings and Addresses of the American Philosophical Association (November 1975), 48: 5–22.
"A Kantian Conception of Equality." Cambridge Review (February 1975), 96 (2225): 94–99.
"The Basic Structure as Subject." American Philosophical Quarterly (April 1977), 14 (2): 159–65.
"Kantian Constructivism in Moral Theory." Journal of Philosophy (September 1980), 77 (9): 515–72.
"Justice as Fairness: Political not Metaphysical." Philosophy & Public Affairs (Summer 1985), 14 (3): 223–51.
"The Idea of an Overlapping Consensus." Oxford Journal for Legal Studies (Spring 1987), 7 (1): 1–25.
"The Priority of Right and Ideas of the Good." Philosophy & Public Affairs (Fall 1988), 17 (4): 251–76.
"The Domain of the Political and Overlapping Consensus." New York University Law Review (May 1989), 64 (2): 233–55.
"Roderick Firth: His Life and Work." Philosophy and Phenomenological Research (March 1991), 51 (1): 109–18.
"The Law of Peoples." Critical Inquiry (Fall 1993), 20 (1): 36–68.
"Political Liberalism: Reply to Habermas." Journal of Philosophy (March 1995), 92 (3):132–80.
"The Idea of Public Reason Revisited." Chicago Law Review (1997), 64 (3): 765–807. [PRR]
Book chapters
"Constitutional Liberty and the Concept of Justice." In Carl J. Friedrich and John W. Chapman, eds., Nomos, VI: Justice, pp. 98–125. Yearbook of the American Society for Political and Legal Philosophy. New York: Atherton Press, 1963.
"Legal Obligation and the Duty of Fair Play." In Sidney Hook, ed., Law and Philosophy: A Symposium, pp. 3–18. New York: New York University Press, 1964. Proceedings of the 6th Annual New York University Institute of Philosophy.
"Distributive Justice." In Peter Laslett and W. G. Runciman, eds., Philosophy, Politics, and Society. Third Series, pp. 58–82. London: Blackwell; New York: Barnes & Noble, 1967.
"The Justification of Civil Disobedience." In Hugo Adam Bedau, ed., Civil Disobedience: Theory and Practice, pp. 240–55. New York: Pegasus Books, 1969.
"Justice as Reciprocity." In Samuel Gorovitz, ed., Utilitarianism: John Stuart Mill: With Critical Essays, pp. 242–68. New York: Bobbs-Merrill, 1971.
"Author's Note." In Thomas Schwartz, ed., Freedom and Authority: An Introduction to Social and Political Philosophy, p. 260. Encino & Belmont, California: Dickenson, 1973.
"Distributive Justice." In Edmund S. Phelps, ed., Economic Justice: Selected Readings, pp. 319–62. Penguin Modern Economics Readings. Harmondsworth & Baltimore: Penguin Books, 1973.
"Personal Communication, January 31, 1976." In Thomas Nagel's "The Justification of Equality." Critica (April 1978), 10 (28): 9n4.
"The Basic Liberties and Their Priority." In Sterling M. McMurrin, ed., The Tanner Lectures on Human Values, III (1982), pp. 1–87. Salt Lake City: University of Utah Press; Cambridge: Cambridge University Press, 1982.
"Social unity and primary goods" in
"Themes in Kant's Moral Philosophy." In Eckhart Forster, ed., Kant's Transcendental Deductions: The Three Critiques and the Opus postumum, pp. 81–113, 253–56. Stanford Series in Philosophy. Studies in Kant and German Idealism. Stanford, California: Stanford University Press, 1989.
Reviews
Review of Axel Hägerström's Inquiries into the Nature of Law and Morals (C.D. Broad, tr.). Mind (July 1955), 64 (255):421–22.
Review of Stephen Toulmin's An Examination of the Place of Reason in Ethics (1950). Philosophical Review (October 1951), 60 (4): 572–80.
Review of A. Vilhelm Lundstedt's Legal Thinking Revised. Cornell Law Quarterly (1959), 44: 169.
Review of Raymond Klibansky, ed., Philosophy in Mid-Century: A Survey. Philosophical Review (January 1961), 70 (1): 131–32.
Review of Richard B. Brandt, ed., Social Justice (1962). Philosophical Review (July 1965), 74(3): 406–09.
See also
Anarchy, State, and Utopia
List of American philosophers
List of liberal theorists
Philosophy of economics
A Theory of Justice: The Musical!
Notes
References
Freeman, S. (2007) Rawls (Routledge, Abingdon)
Freeman, Samuel (2009) "Original Position" (The Stanford Encyclopedia of Philosophy, Original Position)
Rawls, J. (1993/1996/2005) Political Liberalism (Columbia University Press, New York)
Rogers, B. (27.09.02) "Obituary: John Rawls" Obituary: John Rawls
Tampio, N. (2011) "A Defense of Political Constructivism" (Contemporary Political Theory, A defense of political constructivism)
Wenar, Leif (2008) "John Rawls" (The Stanford Encyclopedia of Philosophy, John Rawls)
External links
Audio recordings of Rawls' 1983 lecture course "Modern Political Philosophy"
Cambridge Rawls Lexicon
Internet Encyclopedia of Philosophy Entry on John Rawls by Henry S. Richardson
Internet Encyclopedia of Philosophy Entry on Political Constructivisim by Michael Buckley
Stanford Encyclopedia of Philosophy Entry on John Rawls by Leif Wenar
Stanford Encyclopedia of Philosophy Entry on Original Position by Fred D'Agostino
Stanford Encyclopedia of Philosophy Entry on Reflective Equilibrium by Norman Daniels
John Rawls on Google Scholar
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| true |
[
"\"Justice as Fairness: Political not Metaphysical\" is an essay by John Rawls, published in 1985. In it he describes his conception of justice. It comprises two main principles of liberty and equality; the second is subdivided into Fair Equality of Opportunity and the Difference Principle.\n\nRawls arranges the principles in 'lexical priority', prioritising in the order of the Liberty Principle, Fair Equality of Opportunity and the Difference Principle. This order determines the priorities of the principles if they conflict in practice. The principles are, however, intended as a single, comprehensive conception of justice—'Justice as Fairness'—and not to function individually. These principles are always applied so as to ensure that the \"least advantaged\" are benefitted and not hurt or forgotten.\n\nRawls originally presented the theory in his 1971 book A Theory of Justice, subsequently expanding upon several of its themes in his later book titled Political Liberalism.\n\nFirst principle: the liberty principle\nThe first and most important principle is that everyone has the same rights as fundamental freedoms. Rawls argued that \"certain rights and freedoms are more important or fundamental \"than others.\" For example, Samuel Freeman argues, Rawls believes that \"personal property\"—personal belongings, a home—constitutes a basic liberty, but an absolute right to unlimited private property is not. As a fundamental freedom, these rights are inviolable. The government must not alter, violate or remove such rights from individuals. Thomas Mertens says Rawls believes that the principles of society are chosen by representative citizens on \"fair\" terms.\n\nRawls articulates the Liberty Principle as the most extensive basic liberty compatible with similar liberty for others in A Theory of Justice; he later amended this in Political Liberalism, stating instead that \"each person has an equal claim to a fully adequate scheme of equal basic rights and liberties\".\n\nSecond principle: the equality principle\nThe principle is part of justice that established distributive justice. Rawls awards the Fair Equality of Opportunity Principle lexical priority over the Difference Principle: Society cannot adjust inequality to maximize the proportion of those who are most vulnerable without providing positions and the opportunities that are necessary for the worse-off to achieve them.\n\nFair equality of opportunity\nThis principle maintains that \"offices and positions\" have to open to all, regardless of their social background, caste or gender. This principle is stronger than the 'Formal Equality of Opportunity'. Rawls argues that human potential should not only be a 'right', but also an 'effective' equal opportunity.\n\nDifference principle\nThe Difference Principle regulates inequalities: it permits only inequalities that work to the advantage of the worst-off. This is often misinterpreted as trickle-down economics; Rawls' argument is more accurately expressed as a system where wealth \"diffuses up\". By guaranteeing the worst-off in society a fair deal, Rawls compensates for naturally occurring inequalities (talents that one is born with, such as a capacity for sport).\n\nRawls justifies the Difference Principle on the basis that, since Fair Equality of Opportunity has lexical priority, the Just choice from Pareto optimal scenarios which could occur would be that benefiting the worst-off rather than the best-off.\n\nOriginal position\n\nA key component of Rawls' argument is his claim that his Principles of Justice would be chosen by parties in the original position. This is a thought experiment in which the parties select principles that will determine the basic structure of the society they will live in. This choice is made from behind a veil of ignorance, which would deprive participants of information about their particular characteristics: his or her ethnicity, social status, gender and, crucially, their conception of the good. This forces participants to select principles impartially and rationally.\n\nSee also\nJustice as Fairness: A Restatement\n\nNotes\n\nReferences\n Avineri, S. and de-Shalit, A. (ed.) (1992) Communitarianism and Individualism (Oxford University Press)\n Freeman, S. (2007) Rawls (Routledge, Abingdon)\n Freeman, S. (2009) \"Original Position\" (The Stanford Encyclopedia of Philosophy, http://plato.stanford.edu/archives/spr2009/entries/original-position)\n Rawls, J. () Political Liberalism (Columbia University Press, New York)\n Rawls, J. () A Theory of Justice (Harvard University Press, Cambridge MA)\n Wenar, Leif (2008) \"John Rawls\" (The Stanford Encyclopedia of Philosophy, http://plato.stanford.edu/archives/fall2008/entries/rawls/)\n\n1985 essays\nBooks in political philosophy\nConcepts in ethics\nConcepts in political philosophy\nConcepts in social philosophy\nContemporary philosophical literature\nEgalitarianism\nEthics\nEthics books\nHistory of ethics\nHistory of philosophy\nIntellectual history\nJohn Rawls\nJustice\nPhilosophical concepts\nPhilosophical theories\nPhilosophy essays\nPublic sphere\nSocial justice\nSocial philosophy literature\nSociology essays\nTheories\nTheories of law\nValue (ethics)\nVirtue",
"Adalah () means justice and denotes the Justice of God. It is among the five Shia Principles of the Religion.\n\nShia Muslims believe that there is intrinsic good or evil in things, and that God commands them to do the good things and shun the evil. They believe that God acts according to a purpose or design, and human reason cannot comprehend this design or purpose in its entirety (though man must always strive to understand as much as he can).\n\nThe Sunni School of thought conversely subscribes to the view that nothing is good or evil per se, and that what God commanded people to do became good by virtue of his command, and what he forbade became evil.\n\nConcept\n\nMorteza Motahhari conceived the following meaning for justice: \nProportionality: consider a system with some components. For the protection of system's survival, resources should be divided proportionally between the members based on need.\nEquality: Justice means equality and denying all forms of discrimination. \nJustifying the rights of owner: In this view, justice is the division of resources in proportion to their potential.\n\nQuran\n\nIn Quran Adl and Qist are two words used to describe justice. Adl means a balanced approach to all things, including life. So if a person is Adil, he is balanced morally, behaviorally, and spiritually. Also, Qist is defined as the approach regulating the human-human or human-God relations.\n\nPrinciple of Shia Theology \n\nAdalah is one of the principles of the Theology of Twelvers. Allah is described by many attributes, but just Adalah is chosen as the overarching principle of Shia Twelvers' theology for the following reasons: \n\n1. Adalah is important because other attributes of God get their meaning from it. In other word Adalah has a wide meaning as putting everything in their right places, so being The Most Merciful or The Sustainer get their meaning from Adalah.\n\n2. Eschatology and Prophecy and Imamah as principles of the Shia Theology are closely related to Adalah.\n\n3. At the beginning of Islam there was a conflict regarding the meaning of justice. Therefore, the Shi'a put it in the principles of religion to emphasize justice.\n\n4. Adalah in human society is an important element of Social justice. Shia Muslim by selecting it as the principal try to achieve justice in their society.\n\nSee also\n Ancillaries of the Faith\n Justice in the Quran\n\nReferences\n\nShia theology"
] |
[
"John Rawls",
"Principles of justice",
"What is the Principles of justice?",
"The first of these is the Liberty Principle,",
"What is the Liberty Principle?",
"establishes equal basic liberties for all citizens.",
"What is another principle?",
"a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle.",
"Why is the difference principle controversial?",
"I don't know.",
"What is the Fair Equality of Opportunity principle?",
"wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals.",
"What is the difference principle?",
"those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged.",
"Are there more principles of justice?",
"Rawls derives two principles of justice from the original position."
] |
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What else did Rawls do?
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What else did John Rawls do other than his principles of justice?
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John Rawls
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Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick). Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged. Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers. Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice". In this respect, he understood justice as fairness as a contribution to "ideal theory", the determination of "principles that characterize a well-ordered society under favorable circumstances". Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory". CANNOTANSWER
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John Bordley Rawls (; February 21, 1921 – November 24, 2002) was an American moral and political philosopher in the liberal tradition. Rawls received both the Schock Prize for Logic and Philosophy and the National Humanities Medal in 1999, the latter presented by President Bill Clinton, in recognition of how Rawls's work "revived the disciplines of political and ethical philosophy with his argument that a society in which the most fortunate help the least fortunate is not only a moral society but a logical one".
In 1990, Will Kymlicka wrote in his introduction to the field that "it is generally accepted that the recent rebirth of normative political philosophy began with the publication of John Rawls's A Theory of Justice in 1971". Rawls has often been described as one of the most influential political philosophers of the 20th century. He has the unusual distinction among contemporary political philosophers of being frequently cited by the courts of law in the United States and Canada and referred to by practising politicians in the United States and the United Kingdom. In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years".
Rawls's theory of "justice as fairness" recommends equal basic liberties, equality of opportunity, and facilitating the maximum benefit to the least advantaged members of society in any case where inequalities may occur. Rawls's argument for these principles of social justice uses a thought experiment called the "original position", in which people deliberately select what kind of society they would choose to live in if they did not know which social position they would personally occupy. In his later work Political Liberalism (1993), Rawls turned to the question of how political power could be made legitimate given reasonable disagreement about the nature of the good life.
Biography
Early life
Rawls was born in Baltimore, Maryland. He was the second of five sons born to William Lee Rawls, a prominent Baltimore attorney, and Anna Abell Stump Rawls. Tragedy struck Rawls at a young age:
Two of his brothers died in childhood because they had contracted fatal illnesses from him. ... In 1928, the seven-year-old Rawls contracted diphtheria. His brother Bobby, younger by 20 months, visited him in his room and was fatally infected. The next winter, Rawls contracted pneumonia. Another younger brother, Tommy, caught the illness from him and died.
Rawls's biographer Thomas Pogge calls the loss of the brothers the "most important events in John's childhood."
Rawls graduated from the Calvert School in Baltimore before enrolling in the Kent School, an Episcopalian preparatory school in Connecticut. Upon graduation in 1939, Rawls attended Princeton University, where he was accepted into The Ivy Club and the American Whig-Cliosophic Society. At Princeton, Rawls was influenced by Norman Malcolm, Ludwig Wittgenstein's student. During his last two years at Princeton, he "became deeply concerned with theology and its doctrines." He considered attending a seminary to study for the Episcopal priesthood and wrote an "intensely religious senior thesis (BI)." In his 181-page long thesis titled "Meaning of Sin and Faith," Rawls attacked Pelagianism because it "would render the Cross of Christ to no effect." His argument was partly drawn from Karl Marx's book On the Jewish Question, which criticized the idea that natural inequality in ability could be a just determiner of the distribution of wealth in society. Even after Rawls became an atheist, many of the anti-Pelagian arguments he used were repeated in A Theory of Justice. Rawls graduated from Princeton in 1943 with a Bachelor of Arts summa cum laude.
Military service, 1943–46
Rawls enlisted in the U.S. Army in February 1943. During World War II, Rawls served as an infantryman in the Pacific, where he served a tour of duty in New Guinea and was awarded a Bronze Star; and the Philippines, where he endured intensive trench warfare and witnessed traumatizing scenes of violence and bloodshed. It was there that he lost his Christian faith and became an atheist.
Following the surrender of Japan, Rawls became part of General MacArthur's occupying army and was promoted to sergeant. But he became disillusioned with the military when he saw the aftermath of the atomic blast in Hiroshima. Rawls then disobeyed an order to discipline a fellow soldier, "believing no punishment was justified," and was "demoted back to a private." Disenchanted, he left the military in January 1946.
Academic career
In early 1946, Rawls returned to Princeton to pursue a doctorate in moral philosophy. He married Margaret Warfield Fox, a Brown University graduate, in 1949. They had four children, Anne Warfield, Robert Lee, Alexander Emory, and Elizabeth Fox.
Rawls received his Ph.D. from Princeton in 1950 after completing a doctoral dissertation titled A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Rawls taught there until 1952 when he received a Fulbright Fellowship to Oxford University (Christ Church), where he was influenced by the liberal political theorist and historian Isaiah Berlin and the legal theorist H. L. A. Hart. After returning to the United States he served first as an assistant and then associate professor at Cornell University. In 1962, he became a full professor of philosophy at Cornell, and soon achieved a tenured position at MIT. That same year, he moved to Harvard University, where he taught for almost forty years and where he trained some of the leading contemporary figures in moral and political philosophy, including Sibyl-A-Schwarzenbach, Thomas Nagel, Allan Gibbard, Onora O'Neill, Adrian Piper, Arnold Davidson, Elizabeth S. Anderson, Christine Korsgaard, Susan Neiman, Claudia Card, Rainer Forst, Thomas Pogge, T. M. Scanlon, Barbara Herman, Joshua Cohen, Thomas E. Hill Jr., Gurcharan Das, Andreas Teuber, Samuel Freeman and Paul Weithman. He held the James Bryant Conant University Professorship at Harvard.
Later life
Rawls seldom gave interviews and, having both a stutter (partially caused by the deaths of two of his brothers, who died through infections contracted from Rawls) and a "bat-like horror of the limelight," did not become a public intellectual despite his fame. He instead remained committed mainly to his academic and family life.
In 1995, he suffered the first of several strokes, severely impeding his ability to continue to work. He was nevertheless able to complete The Law of Peoples, the most complete statement of his views on international justice, and published in 2001 shortly before his death Justice As Fairness: A Restatement, a response to criticisms of A Theory of Justice. Rawls died on November 24, 2002, at age 81, and was buried at the Mount Auburn Cemetery in Massachusetts. He was survived by his wife, Mard Rawls, and their four children, and four grandchildren.
Philosophical thought
Rawls published three main books. The first, A Theory of Justice, focused on distributive justice and attempted to reconcile the competing claims of the values of freedom and equality. The second, Political Liberalism, addressed the question of how citizens divided by intractable religious and philosophical disagreements could come to endorse a constitutional democratic regime. The third, The Law of Peoples, focused on the issue of global justice.
A Theory of Justice
A Theory of Justice, published in 1971, aimed to resolve the seemingly competing claims of freedom and equality. The shape Rawls's resolution took, however, was not that of a balancing act that compromised or weakened the moral claim of one value compared with the other. Rather, his intent was to show that notions of freedom and equality could be integrated into a seamless unity he called justice as fairness. By attempting to enhance the perspective which his readers should take when thinking about justice, Rawls hoped to show the supposed conflict between freedom and equality to be illusory.
Rawls's A Theory of Justice (1971) includes a thought experiment he called the "original position." The intuition motivating its employment is this: the enterprise of political philosophy will be greatly benefited by a specification of the correct standpoint a person should take in his or her thinking about justice. When we think about what it would mean for a just state of affairs to obtain between persons, we eliminate certain features (such as hair or eye color, height, race, etc.) and fixate upon others. Rawls's original position is meant to encode all of our intuitions about which features are relevant, and which irrelevant, for the purposes of deliberating well about justice.
The original position is Rawls' hypothetical scenario in which a group of persons is set the task of reaching an agreement about the kind of political and economic structure they want for a society, which they will then occupy. Each individual, however, deliberates behind a "veil of ignorance": each lacks knowledge, for example, of his or her gender, race, age, intelligence, wealth, skills, education and religion. The only thing that a given member knows about themselves is that they are in possession of the basic capacities necessary to fully and wilfully participate in an enduring system of mutual cooperation; each knows they can be a member of the society.
Rawls posits two basic capacities that the individuals would know themselves to possess. First, individuals know that they have the capacity to form, pursue and revise a conception of the good, or life plan. Exactly what sort of conception of the good this is, however, the individual does not yet know. It may be, for example, religious or secular, but at the start, the individual in the original position does not know which. Second, each individual understands him or herself to have the capacity to develop a sense of justice and a generally effective desire to abide by it. Knowing only these two features of themselves, the group will deliberate in order to design a social structure, during which each person will seek his or her maximal advantage. The idea is that proposals that we would ordinarily think of as unjust – such as that black people or women should not be allowed to hold public office – will not be proposed, in this, Rawls' original position, because it would be irrational to propose them. The reason is simple: one does not know whether he himself would be a woman or a black person. This position is expressed in the difference principle, according to which, in a system of ignorance about one's status, one would strive to improve the position of the worst off, because he might find himself in that position.
Rawls develops his original position by modelling it, in certain respects at least, after the "initial situations" of various social contract thinkers who came before him, including Thomas Hobbes, John Locke and Jean-Jacques Rousseau. Each social contractarian constructs his/her initial situation somewhat differently, having in mind a unique political morality s/he intends the thought experiment to generate. Iain King has suggested the original position draws on Rawls' experiences in post-war Japan, where the US Army was challenged with designing new social and political authorities for the country, while "imagining away all that had gone before."
In social justice processes, each person early on makes decisions about which features of persons to consider and which to ignore. Rawls's aspiration is to have created a thought experiment whereby a version of that process is carried to its completion, illuminating the correct standpoint a person should take in his or her thinking about justice. If he has succeeded, then the original position thought experiment may function as a full specification of the moral standpoint we should attempt to achieve when deliberating about social justice.
In setting out his theory, Rawls described his method as one of "reflective equilibrium," a concept which has since been used in other areas of philosophy. Reflective equilibrium is achieved by mutually adjusting one's general principles and one's considered judgements on particular cases, to bring the two into line with one another.
Principles of justice
Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick).
Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged.
Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen). Rawls’ theory of justice stakes out the task of equalizing the distribution of primary social goods to those least advantaged in society and thus may be seen as a largely political answer to the question of justice, with matters of morality somewhat conflated into a political account of justice and just institutions. Relational approaches to the question of justice, by contrast, seek to examine the connections between individuals and focuses on their relations in societies, with respect to how these relationships are established and configured.
Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers.
Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice." In this respect, he understood justice as fairness as a contribution to "ideal theory," the determination of "principles that characterize a well-ordered society under favorable circumstances." Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory."
Political Liberalism
In Political Liberalism (1993), Rawls turned towards the question of political legitimacy in the context of intractable philosophical, religious, and moral disagreement amongst citizens regarding the human good. Such disagreement, he insisted, was reasonable – the result of the free exercise of human rationality under the conditions of open enquiry and free conscience that the liberal state is designed to safeguard. The question of legitimacy in the face of reasonable disagreement was urgent for Rawls because his own justification of Justice as Fairness relied upon a Kantian conception of the human good that can be reasonably rejected. If the political conception offered in A Theory of Justice can only be shown to be good by invoking a controversial conception of human flourishing, it is unclear how a liberal state ordered according to it could possibly be legitimate.
The intuition animating this seemingly new concern is actually no different from the guiding idea of A Theory of Justice, namely that the fundamental charter of a society must rely only on principles, arguments and reasons that cannot be reasonably rejected by the citizens whose lives will be limited by its social, legal, and political circumscriptions. In other words, the legitimacy of a law is contingent upon its justification being impossible to reasonably reject. This old insight took on a new shape, however, when Rawls realized that its application must extend to the deep justification of Justice as Fairness itself, which he had presented in terms of a reasonably rejectable (Kantian) conception of human flourishing as the free development of autonomous moral agency.
The core of Political Liberalism, accordingly, is its insistence that, in order to retain its legitimacy, the liberal state must commit itself to the "ideal of public reason." This roughly means that citizens in their public capacity must engage one another only in terms of reasons whose status as reasons is shared between them. Political reasoning, then, is to proceed purely in terms of "public reasons." For example: a Supreme Court justice deliberating on whether or not the denial to homosexuals of the ability to marry constitutes a violation of the 14th Amendment's Equal Protection Clause may not advert to his religious convictions on the matter, but he may take into account the argument that a same-sex household provides sub-optimal conditions for a child's development. This is because reasons based upon the interpretation of sacred text are non-public (their force as reasons relies upon faith commitments that can be reasonably rejected), whereas reasons that rely upon the value of providing children with environments in which they may develop optimally are public reasons – their status as reasons draws upon no deep, controversial conception of human flourishing.
Rawls held that the duty of civility – the duty of citizens to offer one another reasons that are mutually understood as reasons – applies within what he called the "public political forum." This forum extends from the upper reaches of government – for example the supreme legislative and judicial bodies of the society – all the way down to the deliberations of a citizen deciding for whom to vote in state legislatures or how to vote in public referenda. Campaigning politicians should also, he believed, refrain from pandering to the non-public religious or moral convictions of their constituencies.
The ideal of public reason secures the dominance of the public political values – freedom, equality, and fairness – that serve as the foundation of the liberal state. But what about the justification of these values? Since any such justification would necessarily draw upon deep (religious or moral) metaphysical commitments which would be reasonably rejectable, Rawls held that the public political values may only be justified privately by individual citizens. The public liberal political conception and its attendant values may and will be affirmed publicly (in judicial opinions and presidential addresses, for example) but its deep justifications will not. The task of justification falls to what Rawls called the "reasonable comprehensive doctrines" and the citizens who subscribe to them. A reasonable Catholic will justify the liberal values one way, a reasonable Muslim another, and a reasonable secular citizen yet another way. One may illustrate Rawls's idea using a Venn diagram: the public political values will be the shared space upon which overlap numerous reasonable comprehensive doctrines. Rawls's account of stability presented in A Theory of Justice is a detailed portrait of the compatibility of one – Kantian – comprehensive doctrine with justice as fairness. His hope is that similar accounts may be presented for many other comprehensive doctrines. This is Rawls's famous notion of an "overlapping consensus."
Such a consensus would necessarily exclude some doctrines, namely, those that are "unreasonable," and so one may wonder what Rawls has to say about such doctrines. An unreasonable comprehensive doctrine is unreasonable in the sense that it is incompatible with the duty of civility. This is simply another way of saying that an unreasonable doctrine is incompatible with the fundamental political values a liberal theory of justice is designed to safeguard – freedom, equality and fairness. So one answer to the question of what Rawls has to say about such doctrines is – nothing. For one thing, the liberal state cannot justify itself to individuals (such as religious fundamentalists) who hold to such doctrines, because any such justification would – as has been noted – proceed in terms of controversial moral or religious commitments that are excluded from the public political forum. But, more importantly, the goal of the Rawlsian project is primarily to determine whether or not the liberal conception of political legitimacy is internally coherent, and this project is carried out by the specification of what sorts of reasons persons committed to liberal values are permitted to use in their dialogue, deliberations and arguments with one another about political matters. The Rawlsian project has this goal to the exclusion of concern with justifying liberal values to those not already committed – or at least open – to them. Rawls's concern is with whether or not the idea of political legitimacy fleshed out in terms of the duty of civility and mutual justification can serve as a viable form of public discourse in the face of the religious and moral pluralism of modern democratic society, not with justifying this conception of political legitimacy in the first place.
Rawls also modified the principles of justice as follows (with the first principle having priority over the second, and the first half of the second having priority over the latter half):
Each person has an equal claim to a fully adequate scheme of basic rights and liberties, which scheme is compatible with the same scheme for all; and in this scheme the equal political liberties, and only those liberties, are to be guaranteed their fair value.
Social and economic inequalities are to satisfy two conditions: first, they are to be attached to positions and offices open to all under conditions of fair equality of opportunity; and second, they are to be to the greatest benefit of the least advantaged members of society.
These principles are subtly modified from the principles in Theory. The first principle now reads "equal claim" instead of "equal right," and he also replaces the phrase "system of basic liberties" with "a fully adequate scheme of equal basic rights and liberties." The two parts of the second principle are also switched, so that the difference principle becomes the latter of the three.
The Law of Peoples
Although there were passing comments on international affairs in A Theory of Justice, it was not until late in his career that Rawls formulated a comprehensive theory of international politics with the publication of The Law of Peoples. He claimed there that "well-ordered" peoples could be either "liberal" or "decent." Rawls's basic distinction in international politics is that his preferred emphasis on a society of peoples is separate from the more conventional and historical discussion of international politics as based on relationships between states.
Rawls argued that the legitimacy of a liberal international order is contingent on tolerating decent peoples, which differ from liberal peoples, among other ways, in that they might have state religions and deny adherents of minority faiths the right to hold positions of power within the state, and might organize political participation via consultation hierarchies rather than elections. However, no well-ordered peoples may violate human rights or behave in an externally aggressive manner. Peoples that fail to meet the criteria of "liberal" or "decent" peoples are referred to as 'outlaw states,' 'societies burdened by unfavourable conditions' or "benevolent absolutisms' depending on their particular failings. Such peoples do not have the right to mutual respect and toleration possessed by liberal and decent peoples.
Rawls's views on global distributive justice as they were expressed in this work surprised many of his fellow egalitarian liberals. For example, Charles Beitz had previously written a study that argued for the application of Rawls's Difference Principles globally. Rawls denied that his principles should be so applied, partly on the grounds that a world state does not exist and would not be stable. This notion has been challenged, as a comprehensive system of global governance has arisen, amongst others in the form of the Bretton Woods system, that serves to distribute primary social goods between human beings. It has thus been argued that a cosmopolitan application of the theory of justice as fairness is the more reasonable alternative to the application of The Law of Peoples, as it would be more legitimate towards all persons over whom political coercive power is exercised.
According to Rawls however, nation states, unlike citizens, were self-sufficient in the cooperative enterprises that constitute domestic societies. Although Rawls recognized that aid should be given to governments which are unable to protect human rights for economic reasons, he claimed that the purpose for this aid is not to achieve an eventual state of global equality, but rather only to ensure that these societies could maintain liberal or decent political institutions. He argued, among other things, that continuing to give aid indefinitely would see nations with industrious populations subsidize those with idle populations and would create a moral hazard problem where governments could spend irresponsibly in the knowledge that they will be bailed out by those nations who had spent responsibly.
Rawls's discussion of "non-ideal" theory, on the other hand, included a condemnation of bombing civilians and of the American bombing of German and Japanese cities in World War II, as well as discussions of immigration and nuclear proliferation. He also detailed here the ideal of the statesman, a political leader who looks to the next generation and promotes international harmony, even in the face of significant domestic pressure to act otherwise. Rawls also controversially claimed that violations of human rights can legitimize military intervention in the violating states, though he also expressed the hope that such societies could be induced to reform peacefully by the good example of liberal and decent peoples.
Influence and reception
Despite the exacting, academic tone of Rawls' writing and his reclusive personality, his philosophical work has exerted an enormous impact on not only contemporary moral and political philosophy but also public political discourse. During the student protests at Tiananmen Square in 1989, copies of "A Theory of Justice" were brandished by protesters in the face of government officials. Despite being approximately 600 pages long, over 300,000 copies of that book have been sold, stimulating critical responses from utilitarian, feminist, conservative, libertarian, Catholic, communitarian, Marxist and Green scholars, which Rawls welcomed.
Although having a profound influence on theories of distributive justice both in theory and in practice, the generally anti-meritocratic sentiment of Rawls' thinking has not been widely accepted by the political left. He consistently held the view that naturally developed skills and endowments could not be neatly distinguished from inherited ones, and that neither could be used to justify moral desert. Instead, he held the view that individuals could "legitimately expect" entitlements to the earning of income or development of abilities based on institutional arrangements. This aspect of Rawls' work has been instrumental in the development of such ideas as luck egalitarianism and unconditional basic income, which have themselves been criticized. The strictly egalitarian quality of Rawls' second principle of justice has called into question the type of equality that fair societies ought to embody.
The Communitarian Critique
Charles Taylor, Alasdair Macintyre, Michael Sandel, and Michael Walzer all have posed formidable oppositions to Rawls' theory of justice throughout their careers, stimulating a large reactionary body of normative and critical scholarship.
The September Group
The late philosopher G.A. Cohen, along with political scientist Jon Elster, and John Roemer used Rawls' writings extensively to inaugurate the Analytical Marxism movement in the 1980s.
The Frankfurt School
In a 2008 national survey of political theorists, based on 1,086 responses from professors at accredited, four-year colleges and universities in the United States, Rawls was voted 1st on the list of "Scholars Who Have Had the Greatest Impact on Political Theory in the Past 20 Years", just ahead of Jürgen Habermas, whose scholarly work he engaged with during the later part of his career (see Habermas-Rawls debate), and Michel Foucault. Habermas' reading of Rawls lead to an appreciation of Rawls' work and other analytical philosophers by the esteemed Frankfurt School of critical theory, and many of Habermas' own students and associates were expected to be familiar with Rawls by the late 1980s. Rainer Forst, who was described in 2012 as the "most important political philosopher of his generation" was advised both by Rawls and Habermas in completing his PhD. Axel Honneth, Fabian Freyenhagen, and James Gordon Finlayson have also drawn on Rawls' work in comparison to Habermas.
Feminist political philosophy
Philosopher Eva Kittay has extended the work of John Rawls to address the concerns of women and the cognitively disabled.
Awards and honors
Bronze Star for radio work behind enemy lines in World War II.
Ralph Waldo Emerson Award (1972)
Member of the Norwegian Academy of Science and Letters (1992)
Schock Prize for Logic and Philosophy (1999)
National Humanities Medal (1999)
Asteroid 16561 Rawls is named in his honor.
Musical
John Rawls is featured as the protagonist of A Theory of Justice: The Musical!, an award-nominated musical comedy, which premiered at Oxford in 2013 and was revived for the Edinburgh Fringe Festival.
Publications
Bibliography
A Study in the Grounds of Ethical Knowledge: Considered with Reference to Judgments on the Moral Worth of Character. Ph.D. dissertation, Princeton University, 1950.
A Theory of Justice. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1971. The revised edition of 1999 incorporates changes that Rawls made for translated editions of A Theory of Justice. Some Rawls scholars use the abbreviation TJ to refer to this work.
Political Liberalism. The John Dewey Essays in Philosophy, 4. New York: Columbia University Press, 1993. The hardback edition published in 1993 is not identical. The paperback adds a valuable new introduction and an essay titled "Reply to Habermas." Some Rawls scholars use the abbreviation PL to refer to this work.
The Law of Peoples: with "The Idea of Public Reason Revisited." Cambridge, Massachusetts: Harvard University Press, 1999. This slim book includes two works; a further development of his essay entitled "The Law of Peoples" and another entitled "Public Reason Revisited," both published earlier in his career.
Collected Papers. Cambridge, Massachusetts: Harvard University Press, 1999. This collection of shorter papers was edited by Samuel Freeman.
Lectures on the History of Moral Philosophy. Cambridge, Massachusetts, Harvard University Press, 2000. This collection of lectures was edited by Barbara Herman. It has an introduction on modern moral philosophy from 1600 to 1800 and then lectures on Hume, Leibniz, Kant and Hegel.
Justice as Fairness: A Restatement. Cambridge, Massachusetts: Belknap Press, 2001. This shorter summary of the main arguments of Rawls's political philosophy was edited by Erin Kelly. Many versions of this were circulated in typescript and much of the material was delivered by Rawls in lectures when he taught courses covering his own work at Harvard University.
Lectures on the History of Political Philosophy. Cambridge, Massachusetts: Harvard University Press, 2007. Collection of lectures on Thomas Hobbes, John Locke, Joseph Butler, Jean-Jacques Rousseau, David Hume, John Stuart Mill and Karl Marx, edited by Samuel Freeman.
A Brief Inquiry into the Meaning of Sin and Faith. Cambridge, Massachusetts, Harvard University Press, 2010. With introduction and commentary by Thomas Nagel, Joshua Cohen and Robert Merrihew Adams. Senior thesis, Princeton, 1942. This volume includes a brief late essay by Rawls entitled On My Religion.
Articles
"Outline of a Decision Procedure for Ethics." Philosophical Review (April 1951), 60 (2): 177–97.
"Two Concepts of Rules." Philosophical Review (January 1955), 64 (1):3–32.
"Justice as Fairness." Journal of Philosophy (October 24, 1957), 54 (22): 653–62.
"Justice as Fairness." Philosophical Review (April 1958), 67 (2): 164–94.
"The Sense of Justice." Philosophical Review (July 1963), 72 (3): 281–305.
"Constitutional Liberty and the Concept of Justice" Nomos VI (1963)
"Distributive Justice: Some Addenda." Natural Law Forum (1968), 13: 51–71.
"Reply to Lyons and Teitelman." Journal of Philosophy (October 5, 1972), 69 (18): 556–57.
"Reply to Alexander and Musgrave." Quarterly Journal of Economics (November 1974), 88 (4): 633–55.
"Some Reasons for the Maximin Criterion." American Economic Review (May 1974), 64 (2): 141–46.
"Fairness to Goodness." Philosophical Review (October 1975), 84 (4): 536–54.
"The Independence of Moral Theory." Proceedings and Addresses of the American Philosophical Association (November 1975), 48: 5–22.
"A Kantian Conception of Equality." Cambridge Review (February 1975), 96 (2225): 94–99.
"The Basic Structure as Subject." American Philosophical Quarterly (April 1977), 14 (2): 159–65.
"Kantian Constructivism in Moral Theory." Journal of Philosophy (September 1980), 77 (9): 515–72.
"Justice as Fairness: Political not Metaphysical." Philosophy & Public Affairs (Summer 1985), 14 (3): 223–51.
"The Idea of an Overlapping Consensus." Oxford Journal for Legal Studies (Spring 1987), 7 (1): 1–25.
"The Priority of Right and Ideas of the Good." Philosophy & Public Affairs (Fall 1988), 17 (4): 251–76.
"The Domain of the Political and Overlapping Consensus." New York University Law Review (May 1989), 64 (2): 233–55.
"Roderick Firth: His Life and Work." Philosophy and Phenomenological Research (March 1991), 51 (1): 109–18.
"The Law of Peoples." Critical Inquiry (Fall 1993), 20 (1): 36–68.
"Political Liberalism: Reply to Habermas." Journal of Philosophy (March 1995), 92 (3):132–80.
"The Idea of Public Reason Revisited." Chicago Law Review (1997), 64 (3): 765–807. [PRR]
Book chapters
"Constitutional Liberty and the Concept of Justice." In Carl J. Friedrich and John W. Chapman, eds., Nomos, VI: Justice, pp. 98–125. Yearbook of the American Society for Political and Legal Philosophy. New York: Atherton Press, 1963.
"Legal Obligation and the Duty of Fair Play." In Sidney Hook, ed., Law and Philosophy: A Symposium, pp. 3–18. New York: New York University Press, 1964. Proceedings of the 6th Annual New York University Institute of Philosophy.
"Distributive Justice." In Peter Laslett and W. G. Runciman, eds., Philosophy, Politics, and Society. Third Series, pp. 58–82. London: Blackwell; New York: Barnes & Noble, 1967.
"The Justification of Civil Disobedience." In Hugo Adam Bedau, ed., Civil Disobedience: Theory and Practice, pp. 240–55. New York: Pegasus Books, 1969.
"Justice as Reciprocity." In Samuel Gorovitz, ed., Utilitarianism: John Stuart Mill: With Critical Essays, pp. 242–68. New York: Bobbs-Merrill, 1971.
"Author's Note." In Thomas Schwartz, ed., Freedom and Authority: An Introduction to Social and Political Philosophy, p. 260. Encino & Belmont, California: Dickenson, 1973.
"Distributive Justice." In Edmund S. Phelps, ed., Economic Justice: Selected Readings, pp. 319–62. Penguin Modern Economics Readings. Harmondsworth & Baltimore: Penguin Books, 1973.
"Personal Communication, January 31, 1976." In Thomas Nagel's "The Justification of Equality." Critica (April 1978), 10 (28): 9n4.
"The Basic Liberties and Their Priority." In Sterling M. McMurrin, ed., The Tanner Lectures on Human Values, III (1982), pp. 1–87. Salt Lake City: University of Utah Press; Cambridge: Cambridge University Press, 1982.
"Social unity and primary goods" in
"Themes in Kant's Moral Philosophy." In Eckhart Forster, ed., Kant's Transcendental Deductions: The Three Critiques and the Opus postumum, pp. 81–113, 253–56. Stanford Series in Philosophy. Studies in Kant and German Idealism. Stanford, California: Stanford University Press, 1989.
Reviews
Review of Axel Hägerström's Inquiries into the Nature of Law and Morals (C.D. Broad, tr.). Mind (July 1955), 64 (255):421–22.
Review of Stephen Toulmin's An Examination of the Place of Reason in Ethics (1950). Philosophical Review (October 1951), 60 (4): 572–80.
Review of A. Vilhelm Lundstedt's Legal Thinking Revised. Cornell Law Quarterly (1959), 44: 169.
Review of Raymond Klibansky, ed., Philosophy in Mid-Century: A Survey. Philosophical Review (January 1961), 70 (1): 131–32.
Review of Richard B. Brandt, ed., Social Justice (1962). Philosophical Review (July 1965), 74(3): 406–09.
See also
Anarchy, State, and Utopia
List of American philosophers
List of liberal theorists
Philosophy of economics
A Theory of Justice: The Musical!
Notes
References
Freeman, S. (2007) Rawls (Routledge, Abingdon)
Freeman, Samuel (2009) "Original Position" (The Stanford Encyclopedia of Philosophy, Original Position)
Rawls, J. (1993/1996/2005) Political Liberalism (Columbia University Press, New York)
Rogers, B. (27.09.02) "Obituary: John Rawls" Obituary: John Rawls
Tampio, N. (2011) "A Defense of Political Constructivism" (Contemporary Political Theory, A defense of political constructivism)
Wenar, Leif (2008) "John Rawls" (The Stanford Encyclopedia of Philosophy, John Rawls)
External links
Audio recordings of Rawls' 1983 lecture course "Modern Political Philosophy"
Cambridge Rawls Lexicon
Internet Encyclopedia of Philosophy Entry on John Rawls by Henry S. Richardson
Internet Encyclopedia of Philosophy Entry on Political Constructivisim by Michael Buckley
Stanford Encyclopedia of Philosophy Entry on John Rawls by Leif Wenar
Stanford Encyclopedia of Philosophy Entry on Original Position by Fred D'Agostino
Stanford Encyclopedia of Philosophy Entry on Reflective Equilibrium by Norman Daniels
John Rawls on Google Scholar
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"Portrait of the Blues is an album by the American singer Lou Rawls, released in 1993.\n\nThe album peaked at No. 4 on the Billboard Traditional Jazz Albums chart.\n\nProduction\nThe album was produced by Michael Cuscuna and Billy Vera. Junior Wells, Buddy Guy, and Lionel Hampton were among the many musicians who contributed to the album. Rawls sings two Willie Dixon numbers: \"I Just Want to Make Love to You\" and \"My Babe\".\n\nCritical reception\nStereo Review deemed the album \"a treat,\" writing that it \"benefits from the mellow horn arrangements of Hank Crawford and Benny Golson.\" The New Pittsburgh Courier thought that \"the disc's lightest moment is provided by a charming duet with Phoebe Snow on 'A Lover's Question'.\" The Houston Chronicle wrote that Rawls \"has seldom sounded better, and his urbane phrasing is cut with just the right amount of downhome grit.\"\n\nThe Philadelphia Inquirer declared that \"it sounds amazingly retro, a kind of rhythm-and-blues time capsule that's closer to his classic early recordings than anything else in a long time.\" The Times opined that Rawls's voice \"has lost none of its velvet sheen.\" The Colorado Springs Gazette-Telegraph called Portrait of the Blues \"a contemporary blues masterpiece.\"\n\nAllMusic wrote that Rawls's \"delivery and articulation give the songs an uptown flair.\"\n\nTrack listing\n\nReferences\n\nLou Rawls albums\n1993 albums\nManhattan Records albums",
"Andre Rawls (born December 20, 1991) is an American soccer player who plays as a goalkeeper.\n\nCareer\n\nCollege\nRawls spent his entire college career at Saint Mary's College, including a red-shirted year in 2010. Rawls was named the WCC goalkeeper of the year in 2014 and earned first team all-Far West Region honors by the National Soccer Coaches Association of America. He set a program record for career goals-against average at 0.98 and registered 25 career wins and 17 shut-outs.\n\nProfessional\nOn January 20, 2015, Rawls was selected in the third round (44th overall) of the 2015 MLS SuperDraft by New York City FC. He wasn't picked up by New York City, instead signing with their USL affiliate club Wilmington Hammerheads on April 3, 2015. Rawls made 22 appearances for Wilmington in 2015, posting four clean sheets.\n\nRawls signed with New York City FC on March 3, 2016. Rawls did not appear for NYCFC in 2016 or 2017. Rawls was loaned to Orange County SC in the USL on March 15, 2018. Rawls made 30 appearances for Orange County, including one in the U.S. Open Cup and three in the USL Cup Playoffs.\n\nRawls was released by New York City at the end of the 2018 season, but was selected by Colorado Rapids in the 2018 MLS Re-Entry Draft.\n\nOn March 6, 2019, Rawls was again loaned to the USL Championship, joining Rapids affiliate Colorado Springs Switchbacks FC. Rawls played 15 matches, posting a 64.6 save percentage and six clean sheets. Rawls signed a two-year contract with the Rapids on Nov. 25, 2019. \n\nRawls did not appear in 2020, but was on the Rapids bench for Colorado's first two matches of the regular season, as well as Colorado's three matches at the MLS is Back Tournament.\n\nIn March 2021, Rawls joined USL Championship club Phoenix Rising FC on loan for the 2021 season.\n\nFollowing the 2021 season, Colorado declined their contract option on Rawls.\n\nReferences\n\nExternal links\n \n \n\nLiving people\n1991 births\nAmerican soccer players\nSoccer players from California\nSportspeople from the San Francisco Bay Area\nPeople from San Ramon, California\nAssociation football goalkeepers\nSaint Mary's Gaels men's soccer players\nNew York City FC draft picks\nWilmington Hammerheads FC players\nNew York City FC players\nOrange County SC players\nColorado Rapids players\nColorado Springs Switchbacks FC players\nPhoenix Rising FC players\nUSL Championship players"
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"Isabella I of Castile",
"Later years"
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C_e1811598f88846ebb7f7eeb9b4683533_0
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Was she married?
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was Isabella I of Castile married?
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Isabella I of Castile
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Isabella received the title of Catholic Monarch by Pope Alexander VI, a pope of whose behavior and involvement in matters Isabella did not approve. Along with the physical unification of Spain, Isabella and Ferdinand embarked on a process of spiritual unification, trying to bring the country under one faith (Roman Catholicism). As part of this process, the Inquisition became institutionalised. After a Muslim uprising in 1499, and further troubles thereafter, the Treaty of Granada was broken in 1502, and Muslims were ordered to either become Christians or to leave. Isabella's confessor, Cisneros, was named Archbishop of Toledo. He was instrumental in a program of rehabilitation of the religious institutions of Spain, laying the groundwork for the later Counter-Reformation. As Chancellor, he exerted more and more power. Isabella and her husband had created an empire and in later years were consumed with administration and politics; they were concerned with the succession and worked to link the Spanish crown to the other rulers in Europe. By early 1497, all the pieces seemed to be in place: The son and heir John, Prince of Asturias, married a Habsburg princess, Margaret of Austria, establishing the connection to the Habsburgs. The eldest daughter, Isabella of Aragon, married King Manuel I of Portugal, and the younger daughter, Joanna of Castile, was married to a Habsburg prince, Philip I of Habsburg. However, Isabella's plans for her eldest two children did not work out. Her only son, John of Asturias, died shortly after his marriage. Her daughter Isabella of Aragon, whose son Miguel da Paz died at the age of two, died in childbirth. Queen Isabella I's crowns passed to her third child Joanna and her son-in-law, Philip I. Isabella did, however, make successful dynastic matches for her three youngest daughters. The death of Isabella of Aragon created a necessity for Manuel I of Portugal to remarry, and Isabella's third daughter, Maria of Aragon, became his next bride. Isabella's youngest daughter, Catherine of Aragon, married England's Arthur, Prince of Wales, but his early death resulted in her being married to his younger brother, King Henry VIII of England. Isabella officially withdrew from governmental affairs on September 14, 1504 and she died that same year on 26 November at the Medina del Campo Royal Palace. It is said that she had truly already been in decline since the death of her son Prince John of Asturias in 1497. She is entombed in Granada in the Capilla Real, which was built by her grandson, Charles V, Holy Roman Emperor (Carlos I of Spain), alongside her husband Ferdinand, her daughter Joanna and Joanna's husband Philip I; and Isabella's 2-year-old grandson, Miguel da Paz (the son of Isabella's daughter, also named Isabella, and King Manuel I of Portugal). The museum next to the Capilla Real holds her crown and scepter. CANNOTANSWER
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Isabella and her husband had created an empire
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Isabella I (, 22 April 1451 – 26 November 1504) was Queen of Castile from 1474 until her death in 1504, reigning over a dynastically unified Spain together with her husband, King Ferdinand II of Aragon. She was Queen of Aragon after Ferdinand II ascended to that throne in 1479. Together, Isabella and Ferdinand are known as the Catholic Monarchs.
After a struggle to claim the throne, Isabella reorganized the governmental system, brought the crime rate to the lowest it had been in years, and unburdened the kingdom of the enormous debt her half-brother King Henry IV had left behind. Isabella's marriage to Ferdinand in 1469 created the basis of the de facto unification of Spain. Her reforms and those she made with her husband had an influence that extended well beyond the borders of their united kingdoms.
Isabella I of Castile and Ferdinand II of Aragon are known for being the first monarchs to be referred to as "Queen of Spain" and "King of Spain" respectively, labeled such for completing the Reconquista, for issuing the Alhambra Decree which ordered the mass expulsion of Jews and Muslims from Spain, for establishing the Spanish Inquisition, for supporting and financing Christopher Columbus's 1492 voyage that led to the discovery of the New World by Europeans and established the Spanish empire, for making Spain a major power in Europe and much of the world, and for ushering in the Spanish Golden Age. Isabella was granted, together with her husband, the title of "Catholic monarch" by Pope Alexander VI, and was recognized in 1974 as a servant of God by the Catholic Church.
Life
Early years
Isabella was born in Madrigal de las Altas Torres, Ávila, to John II of Castile and his second wife, Isabella of Portugal, on 22 April 1451. At the time of Isabella's birth, she was second in line to the throne after her older half-brother Henry IV of Castile. Henry was 26 at that time and married, but childless. Isabella's younger brother Alfonso of Castile was born two years later on 17 November 1453, lowering her position to third in line. When her father died in 1454, her half-brother ascended to the throne as King Henry IV of Castile. Isabella and her brother Alfonso were left in King Henry's care. Isabella, her mother, and Alfonso then moved to Arévalo.
These were times of turmoil for Isabella. The living conditions at their castle in Arévalo were poor, and they suffered from a shortage of money. Although her father arranged in his will for his children to be financially well taken care of, King Henry did not comply with their father's wishes, either from a desire to keep his half-siblings restricted or from ineptitude. Even though her living conditions were difficult, Isabella was instructed in lessons of practical piety and in a deep reverence for religion under the supervision of her mother.
When the King's wife, Joan of Portugal, was about to give birth to their daughter Joanna, Isabella and her brother Alfonso were summoned to court in Segovia to come under the direct supervision of the King and to finish their education. Alfonso was placed in the care of a tutor while Isabella became part of the Queen's household.
Some of Isabella's living conditions improved in Segovia. She always had food and clothing and lived in a castle that was adorned with gold and silver. Isabella's basic education consisted of reading, spelling, writing, grammar, history, mathematics, art, chess, dancing, embroidery, music, and religious instruction. She and her ladies-in-waiting entertained themselves with art, embroidery, and music. She lived a relaxed lifestyle, but she rarely left Segovia since King Henry forbade this. Her half-brother was keeping her from the political turmoil going on in the kingdom, though Isabella had full knowledge of what was going on and of her role in the feuds.
The noblemen, anxious for power, confronted King Henry, demanding that his younger half-brother Alfonso be named his successor. They even went so far as to ask Alfonso to seize the throne. The nobles, now in control of Alfonso and claiming that he was the true heir, clashed with King Henry's forces at the Second Battle of Olmedo in 1467. The battle was a draw. King Henry agreed to recognize Alfonso as his heir presumptive, provided that he would marry his daughter, Princess Joanna la Beltraneja. Soon after he was named Prince of Asturias, Isabella's younger brother Alfonso died in July 1468, likely of the plague. The nobles who had supported him suspected poisoning. As she had been named in her brother's will as his successor, the nobles asked Isabella to take his place as champion of the rebellion. However, support for the rebels had begun to wane, and Isabella preferred a negotiated settlement to continuing the war. She met with her elder half-brother Henry at Toros de Guisando and they reached a compromise: the war would stop, King Henry would name Isabella his heir-presumptive instead of his daughter Joanna, and Isabella would not marry without her half-brother's consent, but he would not be able to force her to marry against her will. Isabella's side came out with most of what the nobles desired, though they did not go so far as to officially depose King Henry; they were not powerful enough to do so, and Isabella did not want to jeopardize the principle of fair inherited succession, since it was upon this idea that she had based her argument for legitimacy as heir-presumptive.
Marriage
The question of Isabella's marriage was not a new one. She had, at the age of six, a betrothal to Ferdinand, the younger son of John II of Navarre (whose family was a cadet branch of the House of Trastámara). At that time, the two kings, Henry and John, were eager to show their mutual love and confidence and they believed that this alliance would make their eternal friendship obvious to the world. This arrangement, however, did not last long.
Ferdinand's uncle Alfonso V of Aragon died in 1458. All of Alfonso's Spanish territories, as well as the islands of Sicily and Sardinia, were left to his brother John II. John now had a stronger position than ever before and no longer needed the security of Henry's friendship. Henry was now in need of a new alliance. He saw the chance for this much-needed new friendship in Charles of Viana, John's elder son. Charles was constantly at odds with his father, and because of this, he secretly entered into an alliance with Henry IV of Castile. A major part of the alliance was that a marriage was to be arranged between Charles and Isabella. When John II learned of this arranged marriage, he was outraged. Isabella had been intended for his favourite younger son, Ferdinand, and in his eyes, this alliance was still valid. John II had his son Charles thrown in prison on charges of plotting against his father's life. Charles died in 1461.
In 1465, an attempt was made to marry Isabella to Afonso V of Portugal, Henry's brother-in-law. Through the medium of the Queen and Count of Ledesma, a Portuguese alliance was made. Isabella, however, was wary of the marriage and refused to consent.
A civil war broke out in Castile over King Henry's inability to act as sovereign. Henry now needed a quick way to please the rebels of the kingdom. As part of an agreement to restore peace, Isabella was then to be betrothed to Pedro Girón Acuña Pacheco, Master of the Order of Calatrava and brother to the King's favourite, Juan Pacheco. In return, Don Pedro would pay into the royal treasury an enormous sum of money. Seeing no alternative, Henry agreed to the marriage. Isabella was aghast and prayed to God that the marriage would not come to pass. Her prayers were answered when Don Pedro suddenly fell ill and died while on his way to meet his fiancée.
When Henry had recognized Isabella as his heir-presumptive on 19 September 1468, he had also promised that his half-sister should not be compelled to marry against her will, while she in return had agreed to obtain his consent. It seemed that the years of failed attempts at political marriages were finally over. There was talk of a marriage to Edward IV of England or to one of his brothers, probably Richard, Duke of Gloucester, but this alliance was never seriously considered. Once again in 1468, a marriage proposal arrived from Afonso V of Portugal. Going against his promises made in September, Henry tried to make the marriage a reality. If Isabella married Afonso, Henry's daughter Joanna would marry Afonso's son John II and thus, after the death of the old king, John and Joanna could inherit Portugal and Castile. Isabella refused and made a secret promise to marry her cousin and very first betrothed, Ferdinand of Aragon.
After this failed attempt, Henry once again went against his promises and tried to marry Isabella to Louis XI's brother Charles, Duke of Berry. In Henry's eyes, this alliance would cement the friendship of Castile and France as well as remove Isabella from Castilian affairs. However, Isabella once again refused the proposal. Meanwhile, John II of Aragon negotiated in secret with Isabella a wedding to his son Ferdinand.
On 18 October 1469, the formal betrothal took place. Because Isabella and Ferdinand were second cousins, they stood within the prohibited degrees of consanguinity and the marriage would not be legal unless a dispensation from the Pope was obtained. With the help of the Valencian Cardinal Rodrigo Borgia (later Alexander VI), Isabella and Ferdinand were presented with a supposed papal bull by Pius II (who had actually died in 1464), authorising Ferdinand to marry within the third degree of consanguinity, making their marriage legal. Afraid of opposition, Isabella eloped from the court of Henry with the excuse of visiting her brother Alfonso's tomb in Ávila. Ferdinand, on the other hand, crossed Castile in secret disguised as a servant. They married immediately upon reuniting on 19 October 1469 in the Palacio de los Vivero in the city of Valladolid.
War with Portugal
On 12 December 1474, news of King Henry IV's death in Madrid (which had happened on 11 December) reached Segovia. This prompted Isabella to take refuge within the walls of the Alcázar of Segovia, where she received the support of Andres de Cabrera and Segovia's council. The next day, Isabella was proclaimed Queen of Castile and León.
Isabella's reign got off to a rocky start. King Henry IV had named Isabella as his successor, so when she ascended to the throne in 1474, there were already several plots against her. Diego Pacheco, the Marquis of Villena, and his followers maintained that Joanna la Beltraneja, Henry's daughter, was the rightful queen. Shortly after the Marquis made his claim, a longtime supporter of Isabella, the Archbishop of Toledo, left court to plot with his great-nephew the Marquis. The Archbishop and Marquis made plans to have Joanna marry her uncle King Afonso V of Portugal and invade Castile to claim the throne for themselves.
In May 1475, King Afonso and his army crossed into Spain and advanced to Plasencia. Here he married the young Joanna. A long and bloody war for the Castilian succession then took place. The war went back and forth for almost a year, until the Battle of Toro on 1 March 1476, in which both sides claimed and celebrated victory: the troops of King Afonso V were beaten by the Castilian centre-left commanded by the Duke of Alba and Cardinal Mendoza while the forces led by John of Portugal defeated the Castilian right wing and remained in possession of the battlefield.
But despite its uncertain outcome, the Battle of Toro represented a great political victory for the Catholic Monarchs, assuring them the throne since the supporters of Joanna la Beltraneja disbanded and the Portuguese army, without allies, left Castile.
As summarised by the historian Justo L. González:
Both armies faced each other at the camps of Toro resulting in an indecisive battle. But while the Portuguese King reorganised his troops, Ferdinand sent news to all the cities of Castile and to several foreign kingdoms informing them about a huge victory where the Portuguese were crushed. Faced with these news, the party of "la Beltraneja" [Joanna] was dissolved and the Portuguese were forced to return to their kingdom.
With great political vision, Isabella took advantage of the moment and convoked courts at Madrigal-Segovia (April–October 1476) where her eldest child and daughter Isabella was first sworn as heiress to Castile's crown. That was equivalent to legitimising Isabella's own throne.
In August of the same year, Isabella proved her abilities as a powerful ruler on her own. A rebellion broke out in Segovia, and Isabella rode out to suppress it, as her husband Ferdinand was off fighting at the time. Going against the advice of her male advisors, Isabella rode by herself into the city to negotiate with the rebels. She was successful and the rebellion was quickly brought to an end. Two years later, Isabella further secured her place as ruler with the birth of her son John, Prince of Asturias, on 30 June 1478. To many, the presence of a male heir legitimised her place as ruler.
Meanwhile, the Castilian and Portuguese fleets fought for hegemony in the Atlantic Ocean and for the wealth of Guinea (gold and slaves), where the decisive naval Battle of Guinea was fought.
The war dragged on for another three years and ended with a Castilian victory on land and a Portuguese victory on the sea. The four separate peace treaties signed at Alcáçovas (4 September 1479) reflected that result: Portugal gave up the throne of Castile in favour of Isabella in exchange for a very favourable share of the Atlantic territories disputed with Castile (they all went to Portugal with the exception of the Canary Islands: Guinea with its mines of gold, Cape Verde, Madeira, Azores, and the right of conquest over the Kingdom of Fez) plus a large war compensation: 106.676 dobles of gold. The Catholic Monarchs also had to accept that Joanna la Beltraneja remain in Portugal instead of Spain and to pardon all rebellious subjects who had supported Joanna and King Afonso. And the Catholic Monarchswho had proclaimed themselves rulers of Portugal and donated lands to noblemen inside this countryhad to give up the Portuguese crown.
At Alcáçovas, Isabella and Ferdinand had conquered the throne, but the Portuguese exclusive right of navigation and commerce in all of the Atlantic Ocean south of the Canary Islands meant that Spain was practically blocked out of the Atlantic and was deprived of the gold of Guinea, which induced anger in Andalusia. Spanish academic Antonio Rumeu de Armas claims that with the peace treaty of Alcáçovas in 1479, the Catholic Monarchs "... buy the peace at an excessively expensive price ..." and historian Mª Monserrat León Guerrero added that they "... find themselves forced to abandon their expansion by the Atlantic ...".
Christopher Columbus freed Castile from this difficult situation, because his New World discovery led to a new and much more balanced sharing of the Atlantic at Tordesillas in 1494. As the orders received by Columbus in his first voyage (1492) show: "[the Catholic Monarchs] have always in mind that the limits signed in the share of Alcáçovas should not be overcome, and thus they insist with Columbus to sail along the parallel of Canary." Thus, by sponsoring the Columbian adventure to the west, the Spanish monarchs were trying the only remaining path of expansion. As is now known, they would be extremely successful on this issue. Isabella had proven herself to be a fighter and tough monarch from the start. Now that she had succeeded in securing her place on the Castilian throne, she could begin to institute the reforms that the kingdom desperately needed.
Reform
Regulation of crime
When Isabella came to the throne in 1474, Castile was in a state of despair due to her brother Henry's reign. It was known that Henry IV was a big spender and did little to enforce the laws of his kingdom. It was even said by one Castilian denizen of the time that murder, rape, and robbery happened without punishment. Because of this, Isabella needed desperately to find a way to reform her kingdom. Due to the measures she imposed, historians during her lifetime saw her to be more inclined to justice than to mercy, and indeed far more rigorous and unforgiving than her husband Ferdinand.
La Santa Hermandad
Isabella's first major reform came during the cortes of Madrigal in 1476 in the form of a police force, La Santa Hermandad (the Holy Brotherhood). Although 1476 was not the first time that Castile had seen the Hermandad, it was the first time that the police force was used by the crown. During the late medieval period, the expression hermandad had been used to describe groups of men who came together of their own accord to regulate law and order by patrolling the roads and countryside and punishing malefactors. These brotherhoods had usually been suppressed by the monarch, however.
Furthermore, before 1476, the justice system in most parts of the country was effectively under the control of dissident members of the nobility rather than royal officials. To fix this problem, during 1476, a general Hermandad was established for Castile, Leon, and Asturias. The police force was to be made up of locals who were to regulate the crime occurring in the kingdom. It was to be paid for by a tax of 1800 maravedís on every one hundred households. In 1477, Isabella visited Extremadura and Andalusia to introduce this more efficient police force there as well.
Other criminal reforms
Keeping with her reformation of the regulation of laws, in 1481 Isabella charged two officials with restoring peace in Galicia. This turbulent province had been the prey of tyrant nobles since the days of Isabella's father, John II. Robbers had infested the highways and oppressed the smaller towns and villages. The officials Isabella charged set off with the Herculean task of restoring peace for the province and were ultimately successful. Indeed, they drove over 1,500 robbers from Galicia.
Finances
From the very beginning of her reign, Isabella fully grasped the importance of restoring the Crown's finances. The reign of Henry IV had left the kingdom of Castile in great debt. Upon examination, it was found that the chief cause of the nation's poverty was the wholesale alienation of royal estates during Henry's reign. To make money, Henry had sold off royal estates at prices well below their value. The Cortes of Toledo of 1480 came to the conclusion that the only hope of lasting financial reform lay in a resumption of these alienated lands and rents. This decision was warmly approved by many leading nobles of the court, but Isabella was reluctant to take such drastic measures. It was decided that the Cardinal of Spain would hold an enquiry into the tenure of estates and rents acquired during Henry IV's reign. Those that had not been granted as a reward for services were to be restored without compensation, while those that had been sold at a price far below their real value were to be bought back at the same sum. While many of the nobility were forced to pay large sums of money for their estates, the royal treasury became even richer. Isabella's one stipulation was that there would be no revocation of gifts made to churches, hospitals, or the poor.
Another issue of money was the overproduction of coinage and the abundance of mints in the kingdom. During Henry's reign, the number of mints regularly producing money had increased from just five to 150. Much of the coinage produced in these mints was nearly worthless. During the first year of her reign, Isabella established a monopoly over the royal mints and fixed a legal standard to which the coinage had to approximate. By shutting down many of the mints and taking royal control over the production of money, Isabella restored the confidence of the public in the Crown's ability to handle the kingdom's finances.
Government
Both Isabella and Ferdinand established very few new governmental and administrative institutions in their respective kingdoms. Especially in Castile, their main achievement was to use more effectively the institutions that had existed during the reigns of John II and Henry IV. Historically, the center of the Castilian government had been the royal household, together with its surrounding court. The household was traditionally divided into two overlapping bodies. The first body was made up of household officials, mainly people of the nobility, who carried out governmental and political functions for which they received special payment. The second body was made up of some 200 permanent servants or continos who performed a wide range of confidential functions on behalf of the rulers. By the 1470s, when Isabella began to take a firm grip on the royal administration, the senior offices of the royal household were simply honorary titles and held strictly by the nobility. The positions of a more secretarial nature were often held by senior churchmen. Substantial revenues were attached to such offices and were therefore enjoyed greatly, on an effectively hereditary basis, by the great Castilian houses of nobility. While the nobles held the titles, individuals of lesser breeding did the real work.
Traditionally, the main advisory body to the rulers of Castile was the Royal Council. The council, under the monarch, had full power to resolve all legal and political disputes. The council was responsible for supervising all senior administrative officials, such as the Crown representatives in all of the major towns. It was also the supreme judicial tribunal of the kingdom. In 1480, during the Cortes of Toledo, Isabella made many reforms to the Royal Council. Previously there had been two distinct yet overlapping categories of royal councillor. One formed a group which possessed both judicial and administrative responsibilities. This portion consisted of some bishops, some nobles, and an increasingly important element of professional administrators with legal training known as letrados. The second category of traditional councillor had a less formal role. This role depended greatly on the individuals' political influence and personal influence with the monarch. During Isabella's reign, the role of this second category was completely eliminated. As mentioned previously, Isabella had little care for personal bribes or favours. Because of this, this second type of councillor, usually of the nobility, was only allowed to attend the council of Castile as an observer.
Isabella began to rely more on the professional administrators than ever before. These men were mostly of the bourgeoisie or lesser nobility. The council was also rearranged and it was officially settled that one bishop, three caballeros, and eight or nine lawyers would serve on the council at a time. While the nobles were no longer directly involved in the matters of state, they were welcome to attend the meetings. Isabella hoped by forcing the nobility to choose whether to participate or not would weed out those who were not dedicated to the state and its cause.
Isabella also saw the need to provide a personal relationship between herself as the monarch and her subjects. Therefore, Isabella and Ferdinand set aside a time every Friday during which they themselves would sit and allow people to come to them with complaints. This was a new form of personal justice that Castile had not seen before. The Council of State was reformed and presided over by the King and Queen. This department of public affairs dealt mainly with foreign negotiations, hearing embassies, and transacting business with the Court of Rome. In addition to these departments, there was also a Supreme Court of the Santa Hermandad, a Council of Finance, and a Council for settling purely Aragonese matters. Although Isabella made many reforms that seem to have made the Cortes stronger, in actuality the Cortes lost political power during the reigns of Isabella and Ferdinand. Isabella and her husband moved in the direction of a non-parliamentary government and the Cortes became an almost passive advisory body, giving automatic assent to legislation which had been drafted by the royal administration.
After the reforms of the Cortes of Toledo, the Queen ordered a noted jurist, Alfonso Diaz de Montalvo, to undertake the task of clearing away legal rubbish and compiling what remained into a comprehensive code. Within four years the work stood completed in eight bulky volumes and the Ordenanzas Reales took their place on legal bookshelves.
Events of 1492
Granada
At the end of the Reconquista, only Granada was left for Isabella and Ferdinand to conquer. The Emirate of Granada had been held by the Muslim Nasrid dynasty since the mid-13th century. Protected by natural barriers and fortified towns, it had withstood the long process of the reconquista. On 1 February 1482, the king and queen reached Medina del Campo and this is generally considered the beginning of the war for Granada. While Isabella's and Ferdinand's involvement in the war was apparent from the start, Granada's leadership was divided and never able to present a united front. It still took ten years to conquer Granada, however, culminating in 1492.
The Spanish monarchs recruited soldiers from many European countries and improved their artillery with the latest and best cannon. Systematically, they proceeded to take the kingdom piece by piece. In 1485 they laid siege to Ronda, which surrendered after only a fortnight due to extensive bombardment. The following year, Loja was taken, and again Muhammad XII was captured and released. One year later, with the fall of Málaga, the western part of the Muslim Nasrid kingdom had fallen into Spanish hands. The eastern province succumbed after the fall of Baza in 1489. The siege of Granada began in the spring of 1491 and Muhammad XII finally surrendered at the end of the year. On 2 January 1492, Isabella and Ferdinand entered Granada to receive the keys of the city and the principal mosque was reconsecrated as a church. The Treaty of Granada was signed later that year; in it, Ferdinand and Isabella gave their word to allow the Muslims and Jews of Granada to live in peace.
During the war, Isabella noted the abilities and energy of Gonzalo Fernández de Córdoba and made him one of the two commissioners for the negotiations. Under her patronage, De Córdoba went on to an extraordinary military career that revolutionised the organisation and tactics of the emerging Spanish military, changing the nature of warfare and altering the European balance of power.
Columbus and Portuguese relations
Just three months after entering Granada, Queen Isabella agreed to sponsor Christopher Columbus on an expedition to reach the East Indies by sailing west (for a distance of 2000 miles, according to Columbus). The crown agreed to pay a sum of money as a concession from monarch to subject.
Columbus's expedition departed on 3 August 1492, and arrived in the New World on 12 October. He returned the next year and presented his findings to the monarchs, bringing natives and gold under a hero's welcome. Although Columbus was sponsored by the Castilian queen, treasury accounts show no royal payments to him until 1493, after his first voyage was complete. Spain then entered a Golden Age of exploration and colonisation—the period of the Spanish Empire. In 1494, by the Treaty of Tordesillas, Isabella and Ferdinand agreed to divide the Earth, outside of Europe, with King John II of Portugal. The Portuguese did not recognize that South America belonged to the Spanish because it was in Portugal's sphere of influence, and King John II threatened to send an army to claim the land for the Portuguese.
Position on slavery
Isabella was not in favor of enslaving the American natives. She established the royal position on how the indigenous people should be treated by following the recent policies implemented in the Canary Islands (which had a small amount of native inhabitants), which stated that all peoples were subjects of the Crown of Castile, and could not be enslaved in most situations. There were some circumstances in which a person could be enslaved, including being a prisoner of war, or for practicing cannibalism or sodomy.
After an episode in which Columbus captured 1,200 men, Isabella ordered their return and the arrest of Columbus, who was insulted in the streets of Granada. Isabella realized that she could not trust all the conquest and evangelization to take place through one man, so she opened the range for other expeditions led by Alonso de Hojeda, Juan de la Cosa, Vicente Yáñez Pinzón, or Pedro Alonso Niño.
To prevent her efforts from being reversed in the future, Isabella instructed her descendants in her last will as follows: "do not give rise to or allow the Indians [indigenous Americans] to receive any wrong in their persons and property, but rather that they be treated well and fairly, and if they have received any wrong, remedy it."
Expulsion of the Jews
With the institution of the Roman Catholic Inquisition in Spain, and with the Dominican friar Tomás de Torquemada as the first Inquisitor General, the Catholic Monarchs pursued a policy of religious and national unity. Though Isabella opposed taking harsh measures against Jews on economic grounds, Torquemada was able to convince Ferdinand. On 31 March 1492, the Alhambra decree for the expulsion of the Jews was issued. The Jews had until the end of July, four months, to leave the country and they were not to take with them gold, silver, money, arms, or horses. Traditionally, it had been claimed that as many as 200,000 Jews left Spain, but recent historians have shown that such figures are exaggerated: Henry Kamen has shown that out of a total population of 80,000 Jews, a maximum of 40,000 left and the rest converted. Hundreds of those that remained came under the Inquisition's investigations into relapsed conversos (Marranos) and the Judaizers who had been abetting them.
Later years
Isabella was given the title of Catholic Monarch by Pope Alexander VI, whose behavior and involvement in matters Isabella did not approve of. Along with the physical unification of Spain, Isabella and Ferdinand embarked on a process of spiritual unification, trying to bring the country under one faith (Roman Catholicism). As part of this process, the Inquisition became institutionalised. After a Muslim uprising in 1499, and further troubles thereafter, the Treaty of Granada was broken in 1502, and Muslims were ordered to either become Christians or to leave. Isabella's confessor, Cisneros, was named Archbishop of Toledo. He was instrumental in a program of rehabilitation of the religious institutions of Spain, laying the groundwork for the later Counter-Reformation. As Chancellor, he exerted more and more power.
Isabella and her husband had created an empire and in later years were consumed with administration and politics; they were concerned with the succession and worked to link the Spanish crown to the other rulers in Europe. By early 1497, all the pieces seemed to be in place: The son and heir John, Prince of Asturias, married a Habsburg princess, Margaret of Austria, establishing the connection to the Habsburgs. The eldest daughter, Isabella of Aragon, married King Manuel I of Portugal, and the younger daughter, Joanna of Castile, was married to a Habsburg prince, Philip I of Habsburg. In 1500, Isabella granted all non-rebellious natives in the colonies citizenship and full legal freedom by decree.
However, Isabella's plans for her eldest two children did not work out. Her only son, John of Asturias, died shortly after his marriage. Her daughter, Isabella of Aragon, died during the birth of her son, Miguel da Paz, who died shortly after, at the age of two. Queen Isabella I's crowns passed to her third child, Joanna, and her son-in-law, Philip I.
Isabella did, however, make successful dynastic matches for her two youngest daughters. The death of Isabella of Aragon created a necessity for Manuel I of Portugal to remarry, and Isabella's third daughter, Maria of Aragon, became his next bride. Isabella's youngest daughter, Catherine of Aragon, married England's Arthur, Prince of Wales, but his early death resulted in her being married to his younger brother, King Henry VIII of England.
Isabella officially withdrew from governmental affairs on 14 September 1504 and she died that same year on 26 November at the Medina del Campo Royal Palace. She had already been in decline since the deaths of her son Prince John of Asturias in 1497, her mother Isabella of Portugal in 1496, and her daughter Princess Isabella of Asturias in 1498. She is entombed in Granada in the Capilla Real, which was built by her grandson, Charles V, Holy Roman Emperor (Carlos I of Spain), alongside her husband Ferdinand, her daughter Joanna and Joanna's husband Philip I; and Isabella's 2-year-old grandson, Miguel da Paz (the son of Isabella's daughter, also named Isabella, and King Manuel I of Portugal). The museum next to the Capilla Real holds her crown and scepter.
Appearance and personality
Isabella was short but of strong stocky build, of a very fair complexion, and had a hair color that was between strawberry-blonde and auburn. Other descriptions, however, describe her hair as golden (blonde), and period illuminations show her several times with golden or strawberry blond hair.
Some portraits show her as a brunette. That is due to a phenomenon occurring in old portraits, which often causes hair pigments to go dark brown. Many portraits from the 15th and 16th centuries are a victim of it. However, the statue of her in Granada Cathedral, by Burgundian sculptor Philippe de Vigarny (born in Langres, in what is now France), also shows her as a dark-haired brunette.
Her daughters, Joanna and Catherine, were thought to resemble her the most in looks.
Isabella maintained an austere, temperate lifestyle, and her religious spirit influenced her the most in life. In spite of her hostility towards the Muslims in Andalusia, Isabella developed a taste for Moorish decor and style.
Isabella's contemporaries described her as follows:
Gonzalo Fernández de Oviedo y Valdés: "To see her speak was divine."
: "She was an endeavored woman, very powerful, very prudent, wise, very honest, chaste, devout, discreet, truthful, clear, without deceit. Who could count the excellences of this very Catholic and happy Queen, always very worthy of praises."
Hernando del Pulgar: "She was very inclined to justice, so much so that she was reputed to follow more the path of rigor than that of mercy, and did so to remedy the great corruption of crimes that she found in the kingdom when she succeeded to the throne."
: "[The royal knight Álvaro Yáñez de Lugo] was condemned to be beheaded, although he offered forty thousand ducados for the war against the Moors to the court so that these monies spare his life. This matter was discussed with the queen, and there were some who told her to pardon him, since these funds for the war were better than the death of that man, and her highness should take them. But the queen, preferring justice to cash, very prudently refused them; and although she could have confiscated all his goods, which were many, she did not take any of them to avoid any note of greed, or that it be thought that she had not wished to pardon him in order to have his goods; instead, she gave them all to the children of the aforesaid knight."
Ferdinand, in his testament, declared that "she was exemplary in all acts of virtue and of fear of God."
Fray Francisco Jiménez de Cisneros, her confessor and the Grand Inquisitor, praised "her purity of heart, her big heart and the grandness of her soul".
Family
Isabella and Ferdinand had seven children, five of whom survived to adulthood:
Isabella (1470–1498) married firstly to Afonso, Prince of Portugal, no issue. Married secondly to Manuel I of Portugal, had Miguel da Paz, who died before his second birthday.
A son, miscarried on 31 May 1475 in Cebreros
John (1478–1497), Prince of Asturias. Married Archduchess Margaret of Austria, no surviving issue.
Joanna (1479–1555), Queen of Castile. Married Philip the Handsome, had issue.
Maria (1482–1517), married Manuel I of Portugal, her sister's widower, had issue.
A daughter, stillborn twin sister of Maria. Born on 1 July 1482 at dawn.
Catherine (1485–1536), married firstly to Arthur, Prince of Wales, no issue. Married his younger brother, Henry VIII of England, had Henry, Duke of Cornwall and Mary I of England.
Cause of beatification and canonization
In 1958, José García Goldaraz, the Bishop of Valladolid where she died in 1504, started the canonical Catholic process of the Cause of Beatification and Canonization of Isabella. 17 experts were appointed to investigate more than 100,000 documents in the archives of Spain and the Vatican and the merits of opening a canonical process of canonization. 3,500 of these were chosen to be included in 27 volumes.
In 1970, that Commission determined that "A Canonical process for the canonization of Isabella the Catholic could be undertaken with a sense of security since there was not found one single act, public or private, of Queen Isabella that was not inspired by Christian and evangelical criteria; moreover there was a 'reputation of sanctity' uninterrupted for five centuries and as the investigation was progressing, it was more accentuated."
In 1972, the Process of Valladolid was officially submitted to the Congregation for the Causes of Saints in the Vatican. This process was approved and Isabel was given the title "Servant of God" in March 1974. The cause was initially stopped in 1991, one year before the commemoration of the fifth centenary of the discovery of the New World, due to her expulsion of the Jews. In April 2020, Cardinal Cañizares confirmed that Pope Francis had requested that Spanish bishops reopen Isabella's cause for canonization.
Some authors have claimed that Isabella's reputation for sanctity derives in large measure from an image carefully shaped and disseminated by the queen herself.
Arms
As Princess of Asturias, Isabella bore the undifferenced royal arms of the Crown of Castile and added the Saint John the Evangelist's Eagle, an eagle displayed as single supporter. As queen, she quartered the Royal Arms of the Crown of Castile with the Royal Arms of the Crown of Aragon, she and Ferdinand II of Aragon adopted a yoke and a bundle of arrows as heraldic badges. As co-monarchs, Isabella and Ferdinand used the motto "Tanto Monta" ("They amount to the same", or "Equal opposites in balance"), which refers to their prenuptial agreement. The conquest of Granada in 1492 was symbolised by the addition enté en point of a quarter with a pomegranate for Granada (in Spanish, Granada means pomegranate). There was an uncommon variant with the Saint John the Evangelist's eagle and two lions adopted as Castilian royal supporters by John II, Isabella's father.
Legacy
Isabella is most remembered for enabling Columbus' voyage to the New World, which ushered in an era of great wealth for Spain and Europe. Her reign saw the founding of the Spanish Empire, which in turn ultimately led to establishment of the modern nations of the Americas.
She and her husband completed the Reconquista, driving out the most significant Muslim influence in Western Europe and firmly establishing Spain and the Iberian peninsula as staunchly Catholic. Her reign also established the Spanish Inquisition.
Commemoration
The Spanish crown created the Order of Isabella the Catholic in 1815 in honor of the queen.
Isabella was the first woman to be featured on US postage stamps, namely on three stamps of the Columbian Issue, also in celebration of Columbus. She appears in the 'Columbus soliciting aid of Isabella', 5-cent issue, and on the Spanish court scene replicated on the 15-cent Columbian, and on the $4 issue, in full portrait, side by side with Columbus.
The $4 stamp is the only stamp of that denomination ever issued and one which collectors prize not only for its rarity (only 30,000 were printed) but its beauty, an exquisite carmine with some copies having a crimson hue. Mint specimens of this commemorative have been sold for more than $20,000.
Isabella was also the first named woman to appear on a United States coin, the 1893 commemorative Isabella quarter, celebrating the 400th anniversary of Columbus's first voyage.
Ancestry
Notes
References
Further reading
Boruchoff, David A. Isabel la Católica, Queen of Castile: Critical Essays. New York: Palgrave Macmillan, 2003.
, Bailey W. and Winius, George D. (1977) Foundations of the Portuguese Empire, 1415–1580, Volume 1, University of Minnesota Press.
Downey, Kirsten "Isabella, The Warrior Queen,". New York, Anchor Books, Penguin, 2014.
, Edmondo Michael (1992) Medieval Iberia: An Encyclopedia, Taylor & Francis.
Edwards, John. The Spain of the Catholic Monarchs, 1474–1520. Oxford: Blackwell 2000.
Hillgarth, J.N. The Spanish Kingdoms, 1250–1516. Castilian hegemony. Oxford 1978.
Hunt, Joceyln (2001) Spain, 1474–1598. Routledge, 1st Ed.
Kamen, Henry. The Spanish Inquisition: a historical revision (Yale University Press, 2014)
Liss, Peggy K. (1992) Isabel the Queen. New York: Oxford University Press;
, Marvin (1970) "The council of the Santa Hermandad: a study of the pacification forces of Ferdinand and Isabella", University of Miami Press.
Miller, Townsend Miller (1963) The Castles and the Crown: Spain 1451–1555. New York: Coward-McCann
Prescott, William H. (1838). History of the Reig of Ferdinand and Isabella.
Roth, Norman (1995) Conversos, Inquisition, and the Expulsion of the Jews from Spain. (Madison: The University of Wisconsin Press)
Stuart, Nancy Rubin. Isabella of Castile: the First Renaissance Queen (New York: St. Martin's Press, 1991)
Tremlett, Giles. '"Isabella of Castile. Europe's First Great Queen"' (London: Bloomsbury, 2017)
Tremlett, Giles. "Catherine of Aragon. Henry's Spanish Queen" (London: Faber and Faber, 2010)
Weissberger, Barbara F. Queen Isabel I of Castile: Power, Patronage, Persona (2008)
Weissberger, Barbara F. Isabel Rules: Constructing Queenship, Wielding Power (2003)
In Spanish and Portuguese
Books
, Antonio Rumeu (1992) El tratado de Tordesillas. Madrid: Colecciones MAPFRE 1492, book description.
Azcona, Tarsicio de. Isabel la Católica. Estudio crítico de su vida y su reinado. Madrid 1964.
, Joseph-Louis Ripault (1758) Abrégé chronologique de l'histoire de l'Éspagne, Duchesne, Paris, 3rd Tome.
, Jean (1993) La "imcomparable" Isabel la Catolica (The "incomparable" Isabella, the Catholic), Madrid: Encuentro Editiones, printed by Rogar-Fuenlabrada (Spanish edition).
, Justo L. (1994) Historia del Cristianismo, Miami: Editorial Unilit, Tome 2.
, Mª Monserrat León (2002) El segundo viaje colombino, Alicante: Biblioteca Virtual Miguel de Cervantes.
Ladero Quesada, Miguel Angel. La España de los Reyes Católicos, Madrid 1999.
, Ana Isabel Carrasco (2006) Isabel I de Castilla y la sombra de la ilegitimidad. Propaganda y representación en el conflicto sucesorio (1474–1482), Madrid: Sílex ediciones.
, Manuela (2007) O Sonho da União Ibérica – guerra Luso-Castelhana 1475/1479, Lisboa: Quidnovi, book description.
Pereira, Isabel Violante (2001) De Mendo da Guarda a D. Manuel I. Lisboa: Livros Horizonte
Perez, Joseph. Isabel y Fernando. Los Reyes Católicos. Madrid 1988.
Suárez Fernández, L. and M. Fernández (1969) La España de los reyes Católicos (1474–1516).
Articles
, Antonio Ballesteros (1941) Fernando el Católico, in Ejército revue, Ministerio del Ejercito, Madrid, nr 16, p. 54–66, May 1941.
, Rafael Dominguez (1990) San Juan de los reyes: espacio funerário y aposento régio – in Boletín del Seminário de Estúdios de Arte y Arqueologia, number 56, p. 364–383, University of Valladolid.
, Cesáreo Fernández (1901) La batalla de Toro (1476). Datos y documentos para su monografía histórica, Madrid: Boletín de la Real Academia de la Historia, tomo 38.
,Vicente Ángel Alvarez (2006) La guerra civil castellana y el enfrentamiento con Portugal (1475–1479), Universidad de Alicante, Biblioteca Virtual Miguel de Cervantes.
, Miguel-Ángel Ladero (2000) Portugueses en la frontera de Granada, Revista En la España medieval, Universidad Complutense, nr. 23, pages 67–100.
, António Macia- San Juan de los Reyes y la batalla de Toro, revista Toletum, segunda época, 1979 (9), pp. 55–70. Toledo: Real Academia de Bellas Artes y Ciencias Históricas de Toledo. ISSN: 0210-6310
Chronicles
, Damião de (1724) Chronica do Principe D. Joam, edited by Lisboa occidental at the officina da Música, Lisboa (Biblioteca Nacional Digital).
, Juan de (1839) Historia General de España, tome V Barcelona: printing press of D. Francisco Oliva.
, Alfonso de – Gesta Hispaniensia ex annalibus suorum diebus colligentis, Década III [https://books.google.com/books?id=-1A3cWT_1kAC&pg=PA93&lpg=PA93&dq=%22Alonso+de+Palencia+decada+cuarta+naves+castellanas%22&source=bl&ots=kdDs0IZIC2&sig=1GhLLlK7uT95iMhwkS2KqoLeBJQ&hl=pt-PT&ei=zGpZTbrYFIKAhQf-9YyDDQ&sa=X&oi=book_result&ct=result&resnum=1&ved and IV] (the three first Décadas were edited as Cronica del rey Enrique IV by Antonio Paz y Meliá in 1904 and the fourth as Cuarta Década by José Lopes de Toro in 1970).
, Ruy de (1902) Chronica de El- rei D. Affonso V, Project Gutenberg Ebook, Biblioteca de Clássicos Portugueses, 3rd book, Lisboa.
, Hernando del (1780) Crónica de los Señores Reyes Católicos Don Fernando y Doña Isabel de Castilla y de Aragón, (Biblioteca Virtual Miguel de Cervantes), Valencia: edited by Benito Monfort.
, Garcia de – Vida e feitos d'El Rei D.João II electronic version, wikisource.
External links
Isabella I in the Catholic Encyclopedia
Medieval Sourcebook: Columbus' letter to King and Queen of Spain, 1494
Music at Isabella's court
University of Hull: Genealogy information on Isabella I
El obispo judío que bloquea a la "santa". A report in Spanish about the beatification in El Mundo
Isabella I of Castile – Facts (Video) | Check123 – Video Encyclopedia
1451 births
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Majorcan queens consort
People from the Province of Ávila
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Queens regnant
Order of Isabella the Catholic
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Spanish people of English descent
Spanish people of Portuguese descent
Spanish Renaissance people
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Roman Catholic royal saints
15th-century Spanish women
16th-century Spanish women
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Spanish exploration in the Age of Discovery
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"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",
"Al-Mu'ayyad Shaykh (; 1369 – 13 January 1421) was a Mamluk sultan of Egypt from 6 November 1412 to 13 January 1421.\n\nFamily\nShaykh's first wife was Khawand Khadija, whom he married before his accession to the throne. Another wife was Khawand Zaynab, the daughter of Sultan Barquq. She died in February–March 1423, and was buried in the mausoleum of her father. Another wife was Khawand Sa'adat. She was the daughter of Sirgitmish, and was the mother of his son Sultan Al-Muzaffar Ahmad. After Shaykh's death, she married Sultan Sayf ad-Din Tatar. She died in 1430. One of his concubines was Qutlubay, a Circassian. She was the mother of his son Sidi Ibrahim. After Shaykh's death she married Amir Inal al-Jakami. Ibrahim married Satita, daughter of Sultan An-Nasir Faraj. His only daughter was Khawand Asiya. She died in 1486.\n\nArchitecture\n\nHe has built the Mosque of Sultan al-Muayyad and Maristan of al-Mu'ayyad.\n\nSee also\nMosque of Sultan al-Muayyad\n\nReferences\n\nBurji sultans\n15th-century Mamluk sultans\n1369 births\n1421 deaths"
] |
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"Isabella I of Castile",
"Later years",
"Was she married?",
"Isabella and her husband had created an empire"
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C_e1811598f88846ebb7f7eeb9b4683533_0
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Where was the empire located?
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Where was Isabella I of Castile's empire located?
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Isabella I of Castile
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Isabella received the title of Catholic Monarch by Pope Alexander VI, a pope of whose behavior and involvement in matters Isabella did not approve. Along with the physical unification of Spain, Isabella and Ferdinand embarked on a process of spiritual unification, trying to bring the country under one faith (Roman Catholicism). As part of this process, the Inquisition became institutionalised. After a Muslim uprising in 1499, and further troubles thereafter, the Treaty of Granada was broken in 1502, and Muslims were ordered to either become Christians or to leave. Isabella's confessor, Cisneros, was named Archbishop of Toledo. He was instrumental in a program of rehabilitation of the religious institutions of Spain, laying the groundwork for the later Counter-Reformation. As Chancellor, he exerted more and more power. Isabella and her husband had created an empire and in later years were consumed with administration and politics; they were concerned with the succession and worked to link the Spanish crown to the other rulers in Europe. By early 1497, all the pieces seemed to be in place: The son and heir John, Prince of Asturias, married a Habsburg princess, Margaret of Austria, establishing the connection to the Habsburgs. The eldest daughter, Isabella of Aragon, married King Manuel I of Portugal, and the younger daughter, Joanna of Castile, was married to a Habsburg prince, Philip I of Habsburg. However, Isabella's plans for her eldest two children did not work out. Her only son, John of Asturias, died shortly after his marriage. Her daughter Isabella of Aragon, whose son Miguel da Paz died at the age of two, died in childbirth. Queen Isabella I's crowns passed to her third child Joanna and her son-in-law, Philip I. Isabella did, however, make successful dynastic matches for her three youngest daughters. The death of Isabella of Aragon created a necessity for Manuel I of Portugal to remarry, and Isabella's third daughter, Maria of Aragon, became his next bride. Isabella's youngest daughter, Catherine of Aragon, married England's Arthur, Prince of Wales, but his early death resulted in her being married to his younger brother, King Henry VIII of England. Isabella officially withdrew from governmental affairs on September 14, 1504 and she died that same year on 26 November at the Medina del Campo Royal Palace. It is said that she had truly already been in decline since the death of her son Prince John of Asturias in 1497. She is entombed in Granada in the Capilla Real, which was built by her grandson, Charles V, Holy Roman Emperor (Carlos I of Spain), alongside her husband Ferdinand, her daughter Joanna and Joanna's husband Philip I; and Isabella's 2-year-old grandson, Miguel da Paz (the son of Isabella's daughter, also named Isabella, and King Manuel I of Portugal). The museum next to the Capilla Real holds her crown and scepter. CANNOTANSWER
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CANNOTANSWER
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Isabella I (, 22 April 1451 – 26 November 1504) was Queen of Castile from 1474 until her death in 1504, reigning over a dynastically unified Spain together with her husband, King Ferdinand II of Aragon. She was Queen of Aragon after Ferdinand II ascended to that throne in 1479. Together, Isabella and Ferdinand are known as the Catholic Monarchs.
After a struggle to claim the throne, Isabella reorganized the governmental system, brought the crime rate to the lowest it had been in years, and unburdened the kingdom of the enormous debt her half-brother King Henry IV had left behind. Isabella's marriage to Ferdinand in 1469 created the basis of the de facto unification of Spain. Her reforms and those she made with her husband had an influence that extended well beyond the borders of their united kingdoms.
Isabella I of Castile and Ferdinand II of Aragon are known for being the first monarchs to be referred to as "Queen of Spain" and "King of Spain" respectively, labeled such for completing the Reconquista, for issuing the Alhambra Decree which ordered the mass expulsion of Jews and Muslims from Spain, for establishing the Spanish Inquisition, for supporting and financing Christopher Columbus's 1492 voyage that led to the discovery of the New World by Europeans and established the Spanish empire, for making Spain a major power in Europe and much of the world, and for ushering in the Spanish Golden Age. Isabella was granted, together with her husband, the title of "Catholic monarch" by Pope Alexander VI, and was recognized in 1974 as a servant of God by the Catholic Church.
Life
Early years
Isabella was born in Madrigal de las Altas Torres, Ávila, to John II of Castile and his second wife, Isabella of Portugal, on 22 April 1451. At the time of Isabella's birth, she was second in line to the throne after her older half-brother Henry IV of Castile. Henry was 26 at that time and married, but childless. Isabella's younger brother Alfonso of Castile was born two years later on 17 November 1453, lowering her position to third in line. When her father died in 1454, her half-brother ascended to the throne as King Henry IV of Castile. Isabella and her brother Alfonso were left in King Henry's care. Isabella, her mother, and Alfonso then moved to Arévalo.
These were times of turmoil for Isabella. The living conditions at their castle in Arévalo were poor, and they suffered from a shortage of money. Although her father arranged in his will for his children to be financially well taken care of, King Henry did not comply with their father's wishes, either from a desire to keep his half-siblings restricted or from ineptitude. Even though her living conditions were difficult, Isabella was instructed in lessons of practical piety and in a deep reverence for religion under the supervision of her mother.
When the King's wife, Joan of Portugal, was about to give birth to their daughter Joanna, Isabella and her brother Alfonso were summoned to court in Segovia to come under the direct supervision of the King and to finish their education. Alfonso was placed in the care of a tutor while Isabella became part of the Queen's household.
Some of Isabella's living conditions improved in Segovia. She always had food and clothing and lived in a castle that was adorned with gold and silver. Isabella's basic education consisted of reading, spelling, writing, grammar, history, mathematics, art, chess, dancing, embroidery, music, and religious instruction. She and her ladies-in-waiting entertained themselves with art, embroidery, and music. She lived a relaxed lifestyle, but she rarely left Segovia since King Henry forbade this. Her half-brother was keeping her from the political turmoil going on in the kingdom, though Isabella had full knowledge of what was going on and of her role in the feuds.
The noblemen, anxious for power, confronted King Henry, demanding that his younger half-brother Alfonso be named his successor. They even went so far as to ask Alfonso to seize the throne. The nobles, now in control of Alfonso and claiming that he was the true heir, clashed with King Henry's forces at the Second Battle of Olmedo in 1467. The battle was a draw. King Henry agreed to recognize Alfonso as his heir presumptive, provided that he would marry his daughter, Princess Joanna la Beltraneja. Soon after he was named Prince of Asturias, Isabella's younger brother Alfonso died in July 1468, likely of the plague. The nobles who had supported him suspected poisoning. As she had been named in her brother's will as his successor, the nobles asked Isabella to take his place as champion of the rebellion. However, support for the rebels had begun to wane, and Isabella preferred a negotiated settlement to continuing the war. She met with her elder half-brother Henry at Toros de Guisando and they reached a compromise: the war would stop, King Henry would name Isabella his heir-presumptive instead of his daughter Joanna, and Isabella would not marry without her half-brother's consent, but he would not be able to force her to marry against her will. Isabella's side came out with most of what the nobles desired, though they did not go so far as to officially depose King Henry; they were not powerful enough to do so, and Isabella did not want to jeopardize the principle of fair inherited succession, since it was upon this idea that she had based her argument for legitimacy as heir-presumptive.
Marriage
The question of Isabella's marriage was not a new one. She had, at the age of six, a betrothal to Ferdinand, the younger son of John II of Navarre (whose family was a cadet branch of the House of Trastámara). At that time, the two kings, Henry and John, were eager to show their mutual love and confidence and they believed that this alliance would make their eternal friendship obvious to the world. This arrangement, however, did not last long.
Ferdinand's uncle Alfonso V of Aragon died in 1458. All of Alfonso's Spanish territories, as well as the islands of Sicily and Sardinia, were left to his brother John II. John now had a stronger position than ever before and no longer needed the security of Henry's friendship. Henry was now in need of a new alliance. He saw the chance for this much-needed new friendship in Charles of Viana, John's elder son. Charles was constantly at odds with his father, and because of this, he secretly entered into an alliance with Henry IV of Castile. A major part of the alliance was that a marriage was to be arranged between Charles and Isabella. When John II learned of this arranged marriage, he was outraged. Isabella had been intended for his favourite younger son, Ferdinand, and in his eyes, this alliance was still valid. John II had his son Charles thrown in prison on charges of plotting against his father's life. Charles died in 1461.
In 1465, an attempt was made to marry Isabella to Afonso V of Portugal, Henry's brother-in-law. Through the medium of the Queen and Count of Ledesma, a Portuguese alliance was made. Isabella, however, was wary of the marriage and refused to consent.
A civil war broke out in Castile over King Henry's inability to act as sovereign. Henry now needed a quick way to please the rebels of the kingdom. As part of an agreement to restore peace, Isabella was then to be betrothed to Pedro Girón Acuña Pacheco, Master of the Order of Calatrava and brother to the King's favourite, Juan Pacheco. In return, Don Pedro would pay into the royal treasury an enormous sum of money. Seeing no alternative, Henry agreed to the marriage. Isabella was aghast and prayed to God that the marriage would not come to pass. Her prayers were answered when Don Pedro suddenly fell ill and died while on his way to meet his fiancée.
When Henry had recognized Isabella as his heir-presumptive on 19 September 1468, he had also promised that his half-sister should not be compelled to marry against her will, while she in return had agreed to obtain his consent. It seemed that the years of failed attempts at political marriages were finally over. There was talk of a marriage to Edward IV of England or to one of his brothers, probably Richard, Duke of Gloucester, but this alliance was never seriously considered. Once again in 1468, a marriage proposal arrived from Afonso V of Portugal. Going against his promises made in September, Henry tried to make the marriage a reality. If Isabella married Afonso, Henry's daughter Joanna would marry Afonso's son John II and thus, after the death of the old king, John and Joanna could inherit Portugal and Castile. Isabella refused and made a secret promise to marry her cousin and very first betrothed, Ferdinand of Aragon.
After this failed attempt, Henry once again went against his promises and tried to marry Isabella to Louis XI's brother Charles, Duke of Berry. In Henry's eyes, this alliance would cement the friendship of Castile and France as well as remove Isabella from Castilian affairs. However, Isabella once again refused the proposal. Meanwhile, John II of Aragon negotiated in secret with Isabella a wedding to his son Ferdinand.
On 18 October 1469, the formal betrothal took place. Because Isabella and Ferdinand were second cousins, they stood within the prohibited degrees of consanguinity and the marriage would not be legal unless a dispensation from the Pope was obtained. With the help of the Valencian Cardinal Rodrigo Borgia (later Alexander VI), Isabella and Ferdinand were presented with a supposed papal bull by Pius II (who had actually died in 1464), authorising Ferdinand to marry within the third degree of consanguinity, making their marriage legal. Afraid of opposition, Isabella eloped from the court of Henry with the excuse of visiting her brother Alfonso's tomb in Ávila. Ferdinand, on the other hand, crossed Castile in secret disguised as a servant. They married immediately upon reuniting on 19 October 1469 in the Palacio de los Vivero in the city of Valladolid.
War with Portugal
On 12 December 1474, news of King Henry IV's death in Madrid (which had happened on 11 December) reached Segovia. This prompted Isabella to take refuge within the walls of the Alcázar of Segovia, where she received the support of Andres de Cabrera and Segovia's council. The next day, Isabella was proclaimed Queen of Castile and León.
Isabella's reign got off to a rocky start. King Henry IV had named Isabella as his successor, so when she ascended to the throne in 1474, there were already several plots against her. Diego Pacheco, the Marquis of Villena, and his followers maintained that Joanna la Beltraneja, Henry's daughter, was the rightful queen. Shortly after the Marquis made his claim, a longtime supporter of Isabella, the Archbishop of Toledo, left court to plot with his great-nephew the Marquis. The Archbishop and Marquis made plans to have Joanna marry her uncle King Afonso V of Portugal and invade Castile to claim the throne for themselves.
In May 1475, King Afonso and his army crossed into Spain and advanced to Plasencia. Here he married the young Joanna. A long and bloody war for the Castilian succession then took place. The war went back and forth for almost a year, until the Battle of Toro on 1 March 1476, in which both sides claimed and celebrated victory: the troops of King Afonso V were beaten by the Castilian centre-left commanded by the Duke of Alba and Cardinal Mendoza while the forces led by John of Portugal defeated the Castilian right wing and remained in possession of the battlefield.
But despite its uncertain outcome, the Battle of Toro represented a great political victory for the Catholic Monarchs, assuring them the throne since the supporters of Joanna la Beltraneja disbanded and the Portuguese army, without allies, left Castile.
As summarised by the historian Justo L. González:
Both armies faced each other at the camps of Toro resulting in an indecisive battle. But while the Portuguese King reorganised his troops, Ferdinand sent news to all the cities of Castile and to several foreign kingdoms informing them about a huge victory where the Portuguese were crushed. Faced with these news, the party of "la Beltraneja" [Joanna] was dissolved and the Portuguese were forced to return to their kingdom.
With great political vision, Isabella took advantage of the moment and convoked courts at Madrigal-Segovia (April–October 1476) where her eldest child and daughter Isabella was first sworn as heiress to Castile's crown. That was equivalent to legitimising Isabella's own throne.
In August of the same year, Isabella proved her abilities as a powerful ruler on her own. A rebellion broke out in Segovia, and Isabella rode out to suppress it, as her husband Ferdinand was off fighting at the time. Going against the advice of her male advisors, Isabella rode by herself into the city to negotiate with the rebels. She was successful and the rebellion was quickly brought to an end. Two years later, Isabella further secured her place as ruler with the birth of her son John, Prince of Asturias, on 30 June 1478. To many, the presence of a male heir legitimised her place as ruler.
Meanwhile, the Castilian and Portuguese fleets fought for hegemony in the Atlantic Ocean and for the wealth of Guinea (gold and slaves), where the decisive naval Battle of Guinea was fought.
The war dragged on for another three years and ended with a Castilian victory on land and a Portuguese victory on the sea. The four separate peace treaties signed at Alcáçovas (4 September 1479) reflected that result: Portugal gave up the throne of Castile in favour of Isabella in exchange for a very favourable share of the Atlantic territories disputed with Castile (they all went to Portugal with the exception of the Canary Islands: Guinea with its mines of gold, Cape Verde, Madeira, Azores, and the right of conquest over the Kingdom of Fez) plus a large war compensation: 106.676 dobles of gold. The Catholic Monarchs also had to accept that Joanna la Beltraneja remain in Portugal instead of Spain and to pardon all rebellious subjects who had supported Joanna and King Afonso. And the Catholic Monarchswho had proclaimed themselves rulers of Portugal and donated lands to noblemen inside this countryhad to give up the Portuguese crown.
At Alcáçovas, Isabella and Ferdinand had conquered the throne, but the Portuguese exclusive right of navigation and commerce in all of the Atlantic Ocean south of the Canary Islands meant that Spain was practically blocked out of the Atlantic and was deprived of the gold of Guinea, which induced anger in Andalusia. Spanish academic Antonio Rumeu de Armas claims that with the peace treaty of Alcáçovas in 1479, the Catholic Monarchs "... buy the peace at an excessively expensive price ..." and historian Mª Monserrat León Guerrero added that they "... find themselves forced to abandon their expansion by the Atlantic ...".
Christopher Columbus freed Castile from this difficult situation, because his New World discovery led to a new and much more balanced sharing of the Atlantic at Tordesillas in 1494. As the orders received by Columbus in his first voyage (1492) show: "[the Catholic Monarchs] have always in mind that the limits signed in the share of Alcáçovas should not be overcome, and thus they insist with Columbus to sail along the parallel of Canary." Thus, by sponsoring the Columbian adventure to the west, the Spanish monarchs were trying the only remaining path of expansion. As is now known, they would be extremely successful on this issue. Isabella had proven herself to be a fighter and tough monarch from the start. Now that she had succeeded in securing her place on the Castilian throne, she could begin to institute the reforms that the kingdom desperately needed.
Reform
Regulation of crime
When Isabella came to the throne in 1474, Castile was in a state of despair due to her brother Henry's reign. It was known that Henry IV was a big spender and did little to enforce the laws of his kingdom. It was even said by one Castilian denizen of the time that murder, rape, and robbery happened without punishment. Because of this, Isabella needed desperately to find a way to reform her kingdom. Due to the measures she imposed, historians during her lifetime saw her to be more inclined to justice than to mercy, and indeed far more rigorous and unforgiving than her husband Ferdinand.
La Santa Hermandad
Isabella's first major reform came during the cortes of Madrigal in 1476 in the form of a police force, La Santa Hermandad (the Holy Brotherhood). Although 1476 was not the first time that Castile had seen the Hermandad, it was the first time that the police force was used by the crown. During the late medieval period, the expression hermandad had been used to describe groups of men who came together of their own accord to regulate law and order by patrolling the roads and countryside and punishing malefactors. These brotherhoods had usually been suppressed by the monarch, however.
Furthermore, before 1476, the justice system in most parts of the country was effectively under the control of dissident members of the nobility rather than royal officials. To fix this problem, during 1476, a general Hermandad was established for Castile, Leon, and Asturias. The police force was to be made up of locals who were to regulate the crime occurring in the kingdom. It was to be paid for by a tax of 1800 maravedís on every one hundred households. In 1477, Isabella visited Extremadura and Andalusia to introduce this more efficient police force there as well.
Other criminal reforms
Keeping with her reformation of the regulation of laws, in 1481 Isabella charged two officials with restoring peace in Galicia. This turbulent province had been the prey of tyrant nobles since the days of Isabella's father, John II. Robbers had infested the highways and oppressed the smaller towns and villages. The officials Isabella charged set off with the Herculean task of restoring peace for the province and were ultimately successful. Indeed, they drove over 1,500 robbers from Galicia.
Finances
From the very beginning of her reign, Isabella fully grasped the importance of restoring the Crown's finances. The reign of Henry IV had left the kingdom of Castile in great debt. Upon examination, it was found that the chief cause of the nation's poverty was the wholesale alienation of royal estates during Henry's reign. To make money, Henry had sold off royal estates at prices well below their value. The Cortes of Toledo of 1480 came to the conclusion that the only hope of lasting financial reform lay in a resumption of these alienated lands and rents. This decision was warmly approved by many leading nobles of the court, but Isabella was reluctant to take such drastic measures. It was decided that the Cardinal of Spain would hold an enquiry into the tenure of estates and rents acquired during Henry IV's reign. Those that had not been granted as a reward for services were to be restored without compensation, while those that had been sold at a price far below their real value were to be bought back at the same sum. While many of the nobility were forced to pay large sums of money for their estates, the royal treasury became even richer. Isabella's one stipulation was that there would be no revocation of gifts made to churches, hospitals, or the poor.
Another issue of money was the overproduction of coinage and the abundance of mints in the kingdom. During Henry's reign, the number of mints regularly producing money had increased from just five to 150. Much of the coinage produced in these mints was nearly worthless. During the first year of her reign, Isabella established a monopoly over the royal mints and fixed a legal standard to which the coinage had to approximate. By shutting down many of the mints and taking royal control over the production of money, Isabella restored the confidence of the public in the Crown's ability to handle the kingdom's finances.
Government
Both Isabella and Ferdinand established very few new governmental and administrative institutions in their respective kingdoms. Especially in Castile, their main achievement was to use more effectively the institutions that had existed during the reigns of John II and Henry IV. Historically, the center of the Castilian government had been the royal household, together with its surrounding court. The household was traditionally divided into two overlapping bodies. The first body was made up of household officials, mainly people of the nobility, who carried out governmental and political functions for which they received special payment. The second body was made up of some 200 permanent servants or continos who performed a wide range of confidential functions on behalf of the rulers. By the 1470s, when Isabella began to take a firm grip on the royal administration, the senior offices of the royal household were simply honorary titles and held strictly by the nobility. The positions of a more secretarial nature were often held by senior churchmen. Substantial revenues were attached to such offices and were therefore enjoyed greatly, on an effectively hereditary basis, by the great Castilian houses of nobility. While the nobles held the titles, individuals of lesser breeding did the real work.
Traditionally, the main advisory body to the rulers of Castile was the Royal Council. The council, under the monarch, had full power to resolve all legal and political disputes. The council was responsible for supervising all senior administrative officials, such as the Crown representatives in all of the major towns. It was also the supreme judicial tribunal of the kingdom. In 1480, during the Cortes of Toledo, Isabella made many reforms to the Royal Council. Previously there had been two distinct yet overlapping categories of royal councillor. One formed a group which possessed both judicial and administrative responsibilities. This portion consisted of some bishops, some nobles, and an increasingly important element of professional administrators with legal training known as letrados. The second category of traditional councillor had a less formal role. This role depended greatly on the individuals' political influence and personal influence with the monarch. During Isabella's reign, the role of this second category was completely eliminated. As mentioned previously, Isabella had little care for personal bribes or favours. Because of this, this second type of councillor, usually of the nobility, was only allowed to attend the council of Castile as an observer.
Isabella began to rely more on the professional administrators than ever before. These men were mostly of the bourgeoisie or lesser nobility. The council was also rearranged and it was officially settled that one bishop, three caballeros, and eight or nine lawyers would serve on the council at a time. While the nobles were no longer directly involved in the matters of state, they were welcome to attend the meetings. Isabella hoped by forcing the nobility to choose whether to participate or not would weed out those who were not dedicated to the state and its cause.
Isabella also saw the need to provide a personal relationship between herself as the monarch and her subjects. Therefore, Isabella and Ferdinand set aside a time every Friday during which they themselves would sit and allow people to come to them with complaints. This was a new form of personal justice that Castile had not seen before. The Council of State was reformed and presided over by the King and Queen. This department of public affairs dealt mainly with foreign negotiations, hearing embassies, and transacting business with the Court of Rome. In addition to these departments, there was also a Supreme Court of the Santa Hermandad, a Council of Finance, and a Council for settling purely Aragonese matters. Although Isabella made many reforms that seem to have made the Cortes stronger, in actuality the Cortes lost political power during the reigns of Isabella and Ferdinand. Isabella and her husband moved in the direction of a non-parliamentary government and the Cortes became an almost passive advisory body, giving automatic assent to legislation which had been drafted by the royal administration.
After the reforms of the Cortes of Toledo, the Queen ordered a noted jurist, Alfonso Diaz de Montalvo, to undertake the task of clearing away legal rubbish and compiling what remained into a comprehensive code. Within four years the work stood completed in eight bulky volumes and the Ordenanzas Reales took their place on legal bookshelves.
Events of 1492
Granada
At the end of the Reconquista, only Granada was left for Isabella and Ferdinand to conquer. The Emirate of Granada had been held by the Muslim Nasrid dynasty since the mid-13th century. Protected by natural barriers and fortified towns, it had withstood the long process of the reconquista. On 1 February 1482, the king and queen reached Medina del Campo and this is generally considered the beginning of the war for Granada. While Isabella's and Ferdinand's involvement in the war was apparent from the start, Granada's leadership was divided and never able to present a united front. It still took ten years to conquer Granada, however, culminating in 1492.
The Spanish monarchs recruited soldiers from many European countries and improved their artillery with the latest and best cannon. Systematically, they proceeded to take the kingdom piece by piece. In 1485 they laid siege to Ronda, which surrendered after only a fortnight due to extensive bombardment. The following year, Loja was taken, and again Muhammad XII was captured and released. One year later, with the fall of Málaga, the western part of the Muslim Nasrid kingdom had fallen into Spanish hands. The eastern province succumbed after the fall of Baza in 1489. The siege of Granada began in the spring of 1491 and Muhammad XII finally surrendered at the end of the year. On 2 January 1492, Isabella and Ferdinand entered Granada to receive the keys of the city and the principal mosque was reconsecrated as a church. The Treaty of Granada was signed later that year; in it, Ferdinand and Isabella gave their word to allow the Muslims and Jews of Granada to live in peace.
During the war, Isabella noted the abilities and energy of Gonzalo Fernández de Córdoba and made him one of the two commissioners for the negotiations. Under her patronage, De Córdoba went on to an extraordinary military career that revolutionised the organisation and tactics of the emerging Spanish military, changing the nature of warfare and altering the European balance of power.
Columbus and Portuguese relations
Just three months after entering Granada, Queen Isabella agreed to sponsor Christopher Columbus on an expedition to reach the East Indies by sailing west (for a distance of 2000 miles, according to Columbus). The crown agreed to pay a sum of money as a concession from monarch to subject.
Columbus's expedition departed on 3 August 1492, and arrived in the New World on 12 October. He returned the next year and presented his findings to the monarchs, bringing natives and gold under a hero's welcome. Although Columbus was sponsored by the Castilian queen, treasury accounts show no royal payments to him until 1493, after his first voyage was complete. Spain then entered a Golden Age of exploration and colonisation—the period of the Spanish Empire. In 1494, by the Treaty of Tordesillas, Isabella and Ferdinand agreed to divide the Earth, outside of Europe, with King John II of Portugal. The Portuguese did not recognize that South America belonged to the Spanish because it was in Portugal's sphere of influence, and King John II threatened to send an army to claim the land for the Portuguese.
Position on slavery
Isabella was not in favor of enslaving the American natives. She established the royal position on how the indigenous people should be treated by following the recent policies implemented in the Canary Islands (which had a small amount of native inhabitants), which stated that all peoples were subjects of the Crown of Castile, and could not be enslaved in most situations. There were some circumstances in which a person could be enslaved, including being a prisoner of war, or for practicing cannibalism or sodomy.
After an episode in which Columbus captured 1,200 men, Isabella ordered their return and the arrest of Columbus, who was insulted in the streets of Granada. Isabella realized that she could not trust all the conquest and evangelization to take place through one man, so she opened the range for other expeditions led by Alonso de Hojeda, Juan de la Cosa, Vicente Yáñez Pinzón, or Pedro Alonso Niño.
To prevent her efforts from being reversed in the future, Isabella instructed her descendants in her last will as follows: "do not give rise to or allow the Indians [indigenous Americans] to receive any wrong in their persons and property, but rather that they be treated well and fairly, and if they have received any wrong, remedy it."
Expulsion of the Jews
With the institution of the Roman Catholic Inquisition in Spain, and with the Dominican friar Tomás de Torquemada as the first Inquisitor General, the Catholic Monarchs pursued a policy of religious and national unity. Though Isabella opposed taking harsh measures against Jews on economic grounds, Torquemada was able to convince Ferdinand. On 31 March 1492, the Alhambra decree for the expulsion of the Jews was issued. The Jews had until the end of July, four months, to leave the country and they were not to take with them gold, silver, money, arms, or horses. Traditionally, it had been claimed that as many as 200,000 Jews left Spain, but recent historians have shown that such figures are exaggerated: Henry Kamen has shown that out of a total population of 80,000 Jews, a maximum of 40,000 left and the rest converted. Hundreds of those that remained came under the Inquisition's investigations into relapsed conversos (Marranos) and the Judaizers who had been abetting them.
Later years
Isabella was given the title of Catholic Monarch by Pope Alexander VI, whose behavior and involvement in matters Isabella did not approve of. Along with the physical unification of Spain, Isabella and Ferdinand embarked on a process of spiritual unification, trying to bring the country under one faith (Roman Catholicism). As part of this process, the Inquisition became institutionalised. After a Muslim uprising in 1499, and further troubles thereafter, the Treaty of Granada was broken in 1502, and Muslims were ordered to either become Christians or to leave. Isabella's confessor, Cisneros, was named Archbishop of Toledo. He was instrumental in a program of rehabilitation of the religious institutions of Spain, laying the groundwork for the later Counter-Reformation. As Chancellor, he exerted more and more power.
Isabella and her husband had created an empire and in later years were consumed with administration and politics; they were concerned with the succession and worked to link the Spanish crown to the other rulers in Europe. By early 1497, all the pieces seemed to be in place: The son and heir John, Prince of Asturias, married a Habsburg princess, Margaret of Austria, establishing the connection to the Habsburgs. The eldest daughter, Isabella of Aragon, married King Manuel I of Portugal, and the younger daughter, Joanna of Castile, was married to a Habsburg prince, Philip I of Habsburg. In 1500, Isabella granted all non-rebellious natives in the colonies citizenship and full legal freedom by decree.
However, Isabella's plans for her eldest two children did not work out. Her only son, John of Asturias, died shortly after his marriage. Her daughter, Isabella of Aragon, died during the birth of her son, Miguel da Paz, who died shortly after, at the age of two. Queen Isabella I's crowns passed to her third child, Joanna, and her son-in-law, Philip I.
Isabella did, however, make successful dynastic matches for her two youngest daughters. The death of Isabella of Aragon created a necessity for Manuel I of Portugal to remarry, and Isabella's third daughter, Maria of Aragon, became his next bride. Isabella's youngest daughter, Catherine of Aragon, married England's Arthur, Prince of Wales, but his early death resulted in her being married to his younger brother, King Henry VIII of England.
Isabella officially withdrew from governmental affairs on 14 September 1504 and she died that same year on 26 November at the Medina del Campo Royal Palace. She had already been in decline since the deaths of her son Prince John of Asturias in 1497, her mother Isabella of Portugal in 1496, and her daughter Princess Isabella of Asturias in 1498. She is entombed in Granada in the Capilla Real, which was built by her grandson, Charles V, Holy Roman Emperor (Carlos I of Spain), alongside her husband Ferdinand, her daughter Joanna and Joanna's husband Philip I; and Isabella's 2-year-old grandson, Miguel da Paz (the son of Isabella's daughter, also named Isabella, and King Manuel I of Portugal). The museum next to the Capilla Real holds her crown and scepter.
Appearance and personality
Isabella was short but of strong stocky build, of a very fair complexion, and had a hair color that was between strawberry-blonde and auburn. Other descriptions, however, describe her hair as golden (blonde), and period illuminations show her several times with golden or strawberry blond hair.
Some portraits show her as a brunette. That is due to a phenomenon occurring in old portraits, which often causes hair pigments to go dark brown. Many portraits from the 15th and 16th centuries are a victim of it. However, the statue of her in Granada Cathedral, by Burgundian sculptor Philippe de Vigarny (born in Langres, in what is now France), also shows her as a dark-haired brunette.
Her daughters, Joanna and Catherine, were thought to resemble her the most in looks.
Isabella maintained an austere, temperate lifestyle, and her religious spirit influenced her the most in life. In spite of her hostility towards the Muslims in Andalusia, Isabella developed a taste for Moorish decor and style.
Isabella's contemporaries described her as follows:
Gonzalo Fernández de Oviedo y Valdés: "To see her speak was divine."
: "She was an endeavored woman, very powerful, very prudent, wise, very honest, chaste, devout, discreet, truthful, clear, without deceit. Who could count the excellences of this very Catholic and happy Queen, always very worthy of praises."
Hernando del Pulgar: "She was very inclined to justice, so much so that she was reputed to follow more the path of rigor than that of mercy, and did so to remedy the great corruption of crimes that she found in the kingdom when she succeeded to the throne."
: "[The royal knight Álvaro Yáñez de Lugo] was condemned to be beheaded, although he offered forty thousand ducados for the war against the Moors to the court so that these monies spare his life. This matter was discussed with the queen, and there were some who told her to pardon him, since these funds for the war were better than the death of that man, and her highness should take them. But the queen, preferring justice to cash, very prudently refused them; and although she could have confiscated all his goods, which were many, she did not take any of them to avoid any note of greed, or that it be thought that she had not wished to pardon him in order to have his goods; instead, she gave them all to the children of the aforesaid knight."
Ferdinand, in his testament, declared that "she was exemplary in all acts of virtue and of fear of God."
Fray Francisco Jiménez de Cisneros, her confessor and the Grand Inquisitor, praised "her purity of heart, her big heart and the grandness of her soul".
Family
Isabella and Ferdinand had seven children, five of whom survived to adulthood:
Isabella (1470–1498) married firstly to Afonso, Prince of Portugal, no issue. Married secondly to Manuel I of Portugal, had Miguel da Paz, who died before his second birthday.
A son, miscarried on 31 May 1475 in Cebreros
John (1478–1497), Prince of Asturias. Married Archduchess Margaret of Austria, no surviving issue.
Joanna (1479–1555), Queen of Castile. Married Philip the Handsome, had issue.
Maria (1482–1517), married Manuel I of Portugal, her sister's widower, had issue.
A daughter, stillborn twin sister of Maria. Born on 1 July 1482 at dawn.
Catherine (1485–1536), married firstly to Arthur, Prince of Wales, no issue. Married his younger brother, Henry VIII of England, had Henry, Duke of Cornwall and Mary I of England.
Cause of beatification and canonization
In 1958, José García Goldaraz, the Bishop of Valladolid where she died in 1504, started the canonical Catholic process of the Cause of Beatification and Canonization of Isabella. 17 experts were appointed to investigate more than 100,000 documents in the archives of Spain and the Vatican and the merits of opening a canonical process of canonization. 3,500 of these were chosen to be included in 27 volumes.
In 1970, that Commission determined that "A Canonical process for the canonization of Isabella the Catholic could be undertaken with a sense of security since there was not found one single act, public or private, of Queen Isabella that was not inspired by Christian and evangelical criteria; moreover there was a 'reputation of sanctity' uninterrupted for five centuries and as the investigation was progressing, it was more accentuated."
In 1972, the Process of Valladolid was officially submitted to the Congregation for the Causes of Saints in the Vatican. This process was approved and Isabel was given the title "Servant of God" in March 1974. The cause was initially stopped in 1991, one year before the commemoration of the fifth centenary of the discovery of the New World, due to her expulsion of the Jews. In April 2020, Cardinal Cañizares confirmed that Pope Francis had requested that Spanish bishops reopen Isabella's cause for canonization.
Some authors have claimed that Isabella's reputation for sanctity derives in large measure from an image carefully shaped and disseminated by the queen herself.
Arms
As Princess of Asturias, Isabella bore the undifferenced royal arms of the Crown of Castile and added the Saint John the Evangelist's Eagle, an eagle displayed as single supporter. As queen, she quartered the Royal Arms of the Crown of Castile with the Royal Arms of the Crown of Aragon, she and Ferdinand II of Aragon adopted a yoke and a bundle of arrows as heraldic badges. As co-monarchs, Isabella and Ferdinand used the motto "Tanto Monta" ("They amount to the same", or "Equal opposites in balance"), which refers to their prenuptial agreement. The conquest of Granada in 1492 was symbolised by the addition enté en point of a quarter with a pomegranate for Granada (in Spanish, Granada means pomegranate). There was an uncommon variant with the Saint John the Evangelist's eagle and two lions adopted as Castilian royal supporters by John II, Isabella's father.
Legacy
Isabella is most remembered for enabling Columbus' voyage to the New World, which ushered in an era of great wealth for Spain and Europe. Her reign saw the founding of the Spanish Empire, which in turn ultimately led to establishment of the modern nations of the Americas.
She and her husband completed the Reconquista, driving out the most significant Muslim influence in Western Europe and firmly establishing Spain and the Iberian peninsula as staunchly Catholic. Her reign also established the Spanish Inquisition.
Commemoration
The Spanish crown created the Order of Isabella the Catholic in 1815 in honor of the queen.
Isabella was the first woman to be featured on US postage stamps, namely on three stamps of the Columbian Issue, also in celebration of Columbus. She appears in the 'Columbus soliciting aid of Isabella', 5-cent issue, and on the Spanish court scene replicated on the 15-cent Columbian, and on the $4 issue, in full portrait, side by side with Columbus.
The $4 stamp is the only stamp of that denomination ever issued and one which collectors prize not only for its rarity (only 30,000 were printed) but its beauty, an exquisite carmine with some copies having a crimson hue. Mint specimens of this commemorative have been sold for more than $20,000.
Isabella was also the first named woman to appear on a United States coin, the 1893 commemorative Isabella quarter, celebrating the 400th anniversary of Columbus's first voyage.
Ancestry
Notes
References
Further reading
Boruchoff, David A. Isabel la Católica, Queen of Castile: Critical Essays. New York: Palgrave Macmillan, 2003.
, Bailey W. and Winius, George D. (1977) Foundations of the Portuguese Empire, 1415–1580, Volume 1, University of Minnesota Press.
Downey, Kirsten "Isabella, The Warrior Queen,". New York, Anchor Books, Penguin, 2014.
, Edmondo Michael (1992) Medieval Iberia: An Encyclopedia, Taylor & Francis.
Edwards, John. The Spain of the Catholic Monarchs, 1474–1520. Oxford: Blackwell 2000.
Hillgarth, J.N. The Spanish Kingdoms, 1250–1516. Castilian hegemony. Oxford 1978.
Hunt, Joceyln (2001) Spain, 1474–1598. Routledge, 1st Ed.
Kamen, Henry. The Spanish Inquisition: a historical revision (Yale University Press, 2014)
Liss, Peggy K. (1992) Isabel the Queen. New York: Oxford University Press;
, Marvin (1970) "The council of the Santa Hermandad: a study of the pacification forces of Ferdinand and Isabella", University of Miami Press.
Miller, Townsend Miller (1963) The Castles and the Crown: Spain 1451–1555. New York: Coward-McCann
Prescott, William H. (1838). History of the Reig of Ferdinand and Isabella.
Roth, Norman (1995) Conversos, Inquisition, and the Expulsion of the Jews from Spain. (Madison: The University of Wisconsin Press)
Stuart, Nancy Rubin. Isabella of Castile: the First Renaissance Queen (New York: St. Martin's Press, 1991)
Tremlett, Giles. '"Isabella of Castile. Europe's First Great Queen"' (London: Bloomsbury, 2017)
Tremlett, Giles. "Catherine of Aragon. Henry's Spanish Queen" (London: Faber and Faber, 2010)
Weissberger, Barbara F. Queen Isabel I of Castile: Power, Patronage, Persona (2008)
Weissberger, Barbara F. Isabel Rules: Constructing Queenship, Wielding Power (2003)
In Spanish and Portuguese
Books
, Antonio Rumeu (1992) El tratado de Tordesillas. Madrid: Colecciones MAPFRE 1492, book description.
Azcona, Tarsicio de. Isabel la Católica. Estudio crítico de su vida y su reinado. Madrid 1964.
, Joseph-Louis Ripault (1758) Abrégé chronologique de l'histoire de l'Éspagne, Duchesne, Paris, 3rd Tome.
, Jean (1993) La "imcomparable" Isabel la Catolica (The "incomparable" Isabella, the Catholic), Madrid: Encuentro Editiones, printed by Rogar-Fuenlabrada (Spanish edition).
, Justo L. (1994) Historia del Cristianismo, Miami: Editorial Unilit, Tome 2.
, Mª Monserrat León (2002) El segundo viaje colombino, Alicante: Biblioteca Virtual Miguel de Cervantes.
Ladero Quesada, Miguel Angel. La España de los Reyes Católicos, Madrid 1999.
, Ana Isabel Carrasco (2006) Isabel I de Castilla y la sombra de la ilegitimidad. Propaganda y representación en el conflicto sucesorio (1474–1482), Madrid: Sílex ediciones.
, Manuela (2007) O Sonho da União Ibérica – guerra Luso-Castelhana 1475/1479, Lisboa: Quidnovi, book description.
Pereira, Isabel Violante (2001) De Mendo da Guarda a D. Manuel I. Lisboa: Livros Horizonte
Perez, Joseph. Isabel y Fernando. Los Reyes Católicos. Madrid 1988.
Suárez Fernández, L. and M. Fernández (1969) La España de los reyes Católicos (1474–1516).
Articles
, Antonio Ballesteros (1941) Fernando el Católico, in Ejército revue, Ministerio del Ejercito, Madrid, nr 16, p. 54–66, May 1941.
, Rafael Dominguez (1990) San Juan de los reyes: espacio funerário y aposento régio – in Boletín del Seminário de Estúdios de Arte y Arqueologia, number 56, p. 364–383, University of Valladolid.
, Cesáreo Fernández (1901) La batalla de Toro (1476). Datos y documentos para su monografía histórica, Madrid: Boletín de la Real Academia de la Historia, tomo 38.
,Vicente Ángel Alvarez (2006) La guerra civil castellana y el enfrentamiento con Portugal (1475–1479), Universidad de Alicante, Biblioteca Virtual Miguel de Cervantes.
, Miguel-Ángel Ladero (2000) Portugueses en la frontera de Granada, Revista En la España medieval, Universidad Complutense, nr. 23, pages 67–100.
, António Macia- San Juan de los Reyes y la batalla de Toro, revista Toletum, segunda época, 1979 (9), pp. 55–70. Toledo: Real Academia de Bellas Artes y Ciencias Históricas de Toledo. ISSN: 0210-6310
Chronicles
, Damião de (1724) Chronica do Principe D. Joam, edited by Lisboa occidental at the officina da Música, Lisboa (Biblioteca Nacional Digital).
, Juan de (1839) Historia General de España, tome V Barcelona: printing press of D. Francisco Oliva.
, Alfonso de – Gesta Hispaniensia ex annalibus suorum diebus colligentis, Década III [https://books.google.com/books?id=-1A3cWT_1kAC&pg=PA93&lpg=PA93&dq=%22Alonso+de+Palencia+decada+cuarta+naves+castellanas%22&source=bl&ots=kdDs0IZIC2&sig=1GhLLlK7uT95iMhwkS2KqoLeBJQ&hl=pt-PT&ei=zGpZTbrYFIKAhQf-9YyDDQ&sa=X&oi=book_result&ct=result&resnum=1&ved and IV] (the three first Décadas were edited as Cronica del rey Enrique IV by Antonio Paz y Meliá in 1904 and the fourth as Cuarta Década by José Lopes de Toro in 1970).
, Ruy de (1902) Chronica de El- rei D. Affonso V, Project Gutenberg Ebook, Biblioteca de Clássicos Portugueses, 3rd book, Lisboa.
, Hernando del (1780) Crónica de los Señores Reyes Católicos Don Fernando y Doña Isabel de Castilla y de Aragón, (Biblioteca Virtual Miguel de Cervantes), Valencia: edited by Benito Monfort.
, Garcia de – Vida e feitos d'El Rei D.João II electronic version, wikisource.
External links
Isabella I in the Catholic Encyclopedia
Medieval Sourcebook: Columbus' letter to King and Queen of Spain, 1494
Music at Isabella's court
University of Hull: Genealogy information on Isabella I
El obispo judío que bloquea a la "santa". A report in Spanish about the beatification in El Mundo
Isabella I of Castile – Facts (Video) | Check123 – Video Encyclopedia
1451 births
1504 deaths
15th-century Castilian monarchs
16th-century Castilian monarchs
Aragonese queen consorts
Burials at the Royal Chapel of Granada
Castilian infantas
Countesses of Barcelona
History of Catholicism in Spain
House of Trastámara
Majorcan queens consort
People from the Province of Ávila
Princes of Asturias
Queens regnant
Order of Isabella the Catholic
Royal consorts of Naples
Royal consorts of Sicily
Spanish people of English descent
Spanish people of Portuguese descent
Spanish Renaissance people
Spanish Servants of God
Roman Catholic royal saints
15th-century Spanish women
16th-century Spanish women
15th-century women rulers
16th-century women rulers
16th-century venerated Christians
Spanish exploration in the Age of Discovery
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"Standesamt Wongrowitz was a civil registration district (Standesamt) located in Kreis Wongrowitz, province of Posen of the German Empire (1871–1918). This Standesamt was located in and administered the town of Wongrowitz as well as the nearby communities of:\n\nSee also\n Wągrowiec (general article about the town where the Standesamt was located)\n\nExternal links \n Municipal site\n\nGerman Empire\nKingdom of Prussia",
"Avraga (Аварга in Khalkha Mongolian) is the steppe where the first nomadic capital of the Mongol Empire was located after Genghis Khan seized the territory from the Jurkin clan. Avraga was located at the confluence of the Kherlen and Tsenker River, in present-day Khentii province, Mongolia.\n\nHistory\nThe place was originally called Aurag, meaning source in the Mongolian language. Avraga is located near the place where Genghis Khan's family lived. Oral tradition maintains that Börte and other family members continued to live in Avraga during the Mongol invasion of Khorazm (1218–1223). It was a collection and distribution center for goods from around the empire; but it soon proved too small and the Mongol court established the base of Karakorum.\n\nUnder Kublai Khan and his successors, it became a shrine for the cult of the Genghis Khan.\n\nA 2020 study concluded that Avraga was Genghis Khan's winter base camp, based on radiocarbon chronology.\n\nReferences\n\nHistory of Mongolia"
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"Isabella I of Castile",
"Later years",
"Was she married?",
"Isabella and her husband had created an empire",
"Where was the empire located?",
"I don't know."
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C_e1811598f88846ebb7f7eeb9b4683533_0
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Do they have any kids?
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Does Isabella I of Castile have any kids?
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Isabella I of Castile
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Isabella received the title of Catholic Monarch by Pope Alexander VI, a pope of whose behavior and involvement in matters Isabella did not approve. Along with the physical unification of Spain, Isabella and Ferdinand embarked on a process of spiritual unification, trying to bring the country under one faith (Roman Catholicism). As part of this process, the Inquisition became institutionalised. After a Muslim uprising in 1499, and further troubles thereafter, the Treaty of Granada was broken in 1502, and Muslims were ordered to either become Christians or to leave. Isabella's confessor, Cisneros, was named Archbishop of Toledo. He was instrumental in a program of rehabilitation of the religious institutions of Spain, laying the groundwork for the later Counter-Reformation. As Chancellor, he exerted more and more power. Isabella and her husband had created an empire and in later years were consumed with administration and politics; they were concerned with the succession and worked to link the Spanish crown to the other rulers in Europe. By early 1497, all the pieces seemed to be in place: The son and heir John, Prince of Asturias, married a Habsburg princess, Margaret of Austria, establishing the connection to the Habsburgs. The eldest daughter, Isabella of Aragon, married King Manuel I of Portugal, and the younger daughter, Joanna of Castile, was married to a Habsburg prince, Philip I of Habsburg. However, Isabella's plans for her eldest two children did not work out. Her only son, John of Asturias, died shortly after his marriage. Her daughter Isabella of Aragon, whose son Miguel da Paz died at the age of two, died in childbirth. Queen Isabella I's crowns passed to her third child Joanna and her son-in-law, Philip I. Isabella did, however, make successful dynastic matches for her three youngest daughters. The death of Isabella of Aragon created a necessity for Manuel I of Portugal to remarry, and Isabella's third daughter, Maria of Aragon, became his next bride. Isabella's youngest daughter, Catherine of Aragon, married England's Arthur, Prince of Wales, but his early death resulted in her being married to his younger brother, King Henry VIII of England. Isabella officially withdrew from governmental affairs on September 14, 1504 and she died that same year on 26 November at the Medina del Campo Royal Palace. It is said that she had truly already been in decline since the death of her son Prince John of Asturias in 1497. She is entombed in Granada in the Capilla Real, which was built by her grandson, Charles V, Holy Roman Emperor (Carlos I of Spain), alongside her husband Ferdinand, her daughter Joanna and Joanna's husband Philip I; and Isabella's 2-year-old grandson, Miguel da Paz (the son of Isabella's daughter, also named Isabella, and King Manuel I of Portugal). The museum next to the Capilla Real holds her crown and scepter. CANNOTANSWER
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Isabella's plans for her eldest two children did not work out.
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Isabella I (, 22 April 1451 – 26 November 1504) was Queen of Castile from 1474 until her death in 1504, reigning over a dynastically unified Spain together with her husband, King Ferdinand II of Aragon. She was Queen of Aragon after Ferdinand II ascended to that throne in 1479. Together, Isabella and Ferdinand are known as the Catholic Monarchs.
After a struggle to claim the throne, Isabella reorganized the governmental system, brought the crime rate to the lowest it had been in years, and unburdened the kingdom of the enormous debt her half-brother King Henry IV had left behind. Isabella's marriage to Ferdinand in 1469 created the basis of the de facto unification of Spain. Her reforms and those she made with her husband had an influence that extended well beyond the borders of their united kingdoms.
Isabella I of Castile and Ferdinand II of Aragon are known for being the first monarchs to be referred to as "Queen of Spain" and "King of Spain" respectively, labeled such for completing the Reconquista, for issuing the Alhambra Decree which ordered the mass expulsion of Jews and Muslims from Spain, for establishing the Spanish Inquisition, for supporting and financing Christopher Columbus's 1492 voyage that led to the discovery of the New World by Europeans and established the Spanish empire, for making Spain a major power in Europe and much of the world, and for ushering in the Spanish Golden Age. Isabella was granted, together with her husband, the title of "Catholic monarch" by Pope Alexander VI, and was recognized in 1974 as a servant of God by the Catholic Church.
Life
Early years
Isabella was born in Madrigal de las Altas Torres, Ávila, to John II of Castile and his second wife, Isabella of Portugal, on 22 April 1451. At the time of Isabella's birth, she was second in line to the throne after her older half-brother Henry IV of Castile. Henry was 26 at that time and married, but childless. Isabella's younger brother Alfonso of Castile was born two years later on 17 November 1453, lowering her position to third in line. When her father died in 1454, her half-brother ascended to the throne as King Henry IV of Castile. Isabella and her brother Alfonso were left in King Henry's care. Isabella, her mother, and Alfonso then moved to Arévalo.
These were times of turmoil for Isabella. The living conditions at their castle in Arévalo were poor, and they suffered from a shortage of money. Although her father arranged in his will for his children to be financially well taken care of, King Henry did not comply with their father's wishes, either from a desire to keep his half-siblings restricted or from ineptitude. Even though her living conditions were difficult, Isabella was instructed in lessons of practical piety and in a deep reverence for religion under the supervision of her mother.
When the King's wife, Joan of Portugal, was about to give birth to their daughter Joanna, Isabella and her brother Alfonso were summoned to court in Segovia to come under the direct supervision of the King and to finish their education. Alfonso was placed in the care of a tutor while Isabella became part of the Queen's household.
Some of Isabella's living conditions improved in Segovia. She always had food and clothing and lived in a castle that was adorned with gold and silver. Isabella's basic education consisted of reading, spelling, writing, grammar, history, mathematics, art, chess, dancing, embroidery, music, and religious instruction. She and her ladies-in-waiting entertained themselves with art, embroidery, and music. She lived a relaxed lifestyle, but she rarely left Segovia since King Henry forbade this. Her half-brother was keeping her from the political turmoil going on in the kingdom, though Isabella had full knowledge of what was going on and of her role in the feuds.
The noblemen, anxious for power, confronted King Henry, demanding that his younger half-brother Alfonso be named his successor. They even went so far as to ask Alfonso to seize the throne. The nobles, now in control of Alfonso and claiming that he was the true heir, clashed with King Henry's forces at the Second Battle of Olmedo in 1467. The battle was a draw. King Henry agreed to recognize Alfonso as his heir presumptive, provided that he would marry his daughter, Princess Joanna la Beltraneja. Soon after he was named Prince of Asturias, Isabella's younger brother Alfonso died in July 1468, likely of the plague. The nobles who had supported him suspected poisoning. As she had been named in her brother's will as his successor, the nobles asked Isabella to take his place as champion of the rebellion. However, support for the rebels had begun to wane, and Isabella preferred a negotiated settlement to continuing the war. She met with her elder half-brother Henry at Toros de Guisando and they reached a compromise: the war would stop, King Henry would name Isabella his heir-presumptive instead of his daughter Joanna, and Isabella would not marry without her half-brother's consent, but he would not be able to force her to marry against her will. Isabella's side came out with most of what the nobles desired, though they did not go so far as to officially depose King Henry; they were not powerful enough to do so, and Isabella did not want to jeopardize the principle of fair inherited succession, since it was upon this idea that she had based her argument for legitimacy as heir-presumptive.
Marriage
The question of Isabella's marriage was not a new one. She had, at the age of six, a betrothal to Ferdinand, the younger son of John II of Navarre (whose family was a cadet branch of the House of Trastámara). At that time, the two kings, Henry and John, were eager to show their mutual love and confidence and they believed that this alliance would make their eternal friendship obvious to the world. This arrangement, however, did not last long.
Ferdinand's uncle Alfonso V of Aragon died in 1458. All of Alfonso's Spanish territories, as well as the islands of Sicily and Sardinia, were left to his brother John II. John now had a stronger position than ever before and no longer needed the security of Henry's friendship. Henry was now in need of a new alliance. He saw the chance for this much-needed new friendship in Charles of Viana, John's elder son. Charles was constantly at odds with his father, and because of this, he secretly entered into an alliance with Henry IV of Castile. A major part of the alliance was that a marriage was to be arranged between Charles and Isabella. When John II learned of this arranged marriage, he was outraged. Isabella had been intended for his favourite younger son, Ferdinand, and in his eyes, this alliance was still valid. John II had his son Charles thrown in prison on charges of plotting against his father's life. Charles died in 1461.
In 1465, an attempt was made to marry Isabella to Afonso V of Portugal, Henry's brother-in-law. Through the medium of the Queen and Count of Ledesma, a Portuguese alliance was made. Isabella, however, was wary of the marriage and refused to consent.
A civil war broke out in Castile over King Henry's inability to act as sovereign. Henry now needed a quick way to please the rebels of the kingdom. As part of an agreement to restore peace, Isabella was then to be betrothed to Pedro Girón Acuña Pacheco, Master of the Order of Calatrava and brother to the King's favourite, Juan Pacheco. In return, Don Pedro would pay into the royal treasury an enormous sum of money. Seeing no alternative, Henry agreed to the marriage. Isabella was aghast and prayed to God that the marriage would not come to pass. Her prayers were answered when Don Pedro suddenly fell ill and died while on his way to meet his fiancée.
When Henry had recognized Isabella as his heir-presumptive on 19 September 1468, he had also promised that his half-sister should not be compelled to marry against her will, while she in return had agreed to obtain his consent. It seemed that the years of failed attempts at political marriages were finally over. There was talk of a marriage to Edward IV of England or to one of his brothers, probably Richard, Duke of Gloucester, but this alliance was never seriously considered. Once again in 1468, a marriage proposal arrived from Afonso V of Portugal. Going against his promises made in September, Henry tried to make the marriage a reality. If Isabella married Afonso, Henry's daughter Joanna would marry Afonso's son John II and thus, after the death of the old king, John and Joanna could inherit Portugal and Castile. Isabella refused and made a secret promise to marry her cousin and very first betrothed, Ferdinand of Aragon.
After this failed attempt, Henry once again went against his promises and tried to marry Isabella to Louis XI's brother Charles, Duke of Berry. In Henry's eyes, this alliance would cement the friendship of Castile and France as well as remove Isabella from Castilian affairs. However, Isabella once again refused the proposal. Meanwhile, John II of Aragon negotiated in secret with Isabella a wedding to his son Ferdinand.
On 18 October 1469, the formal betrothal took place. Because Isabella and Ferdinand were second cousins, they stood within the prohibited degrees of consanguinity and the marriage would not be legal unless a dispensation from the Pope was obtained. With the help of the Valencian Cardinal Rodrigo Borgia (later Alexander VI), Isabella and Ferdinand were presented with a supposed papal bull by Pius II (who had actually died in 1464), authorising Ferdinand to marry within the third degree of consanguinity, making their marriage legal. Afraid of opposition, Isabella eloped from the court of Henry with the excuse of visiting her brother Alfonso's tomb in Ávila. Ferdinand, on the other hand, crossed Castile in secret disguised as a servant. They married immediately upon reuniting on 19 October 1469 in the Palacio de los Vivero in the city of Valladolid.
War with Portugal
On 12 December 1474, news of King Henry IV's death in Madrid (which had happened on 11 December) reached Segovia. This prompted Isabella to take refuge within the walls of the Alcázar of Segovia, where she received the support of Andres de Cabrera and Segovia's council. The next day, Isabella was proclaimed Queen of Castile and León.
Isabella's reign got off to a rocky start. King Henry IV had named Isabella as his successor, so when she ascended to the throne in 1474, there were already several plots against her. Diego Pacheco, the Marquis of Villena, and his followers maintained that Joanna la Beltraneja, Henry's daughter, was the rightful queen. Shortly after the Marquis made his claim, a longtime supporter of Isabella, the Archbishop of Toledo, left court to plot with his great-nephew the Marquis. The Archbishop and Marquis made plans to have Joanna marry her uncle King Afonso V of Portugal and invade Castile to claim the throne for themselves.
In May 1475, King Afonso and his army crossed into Spain and advanced to Plasencia. Here he married the young Joanna. A long and bloody war for the Castilian succession then took place. The war went back and forth for almost a year, until the Battle of Toro on 1 March 1476, in which both sides claimed and celebrated victory: the troops of King Afonso V were beaten by the Castilian centre-left commanded by the Duke of Alba and Cardinal Mendoza while the forces led by John of Portugal defeated the Castilian right wing and remained in possession of the battlefield.
But despite its uncertain outcome, the Battle of Toro represented a great political victory for the Catholic Monarchs, assuring them the throne since the supporters of Joanna la Beltraneja disbanded and the Portuguese army, without allies, left Castile.
As summarised by the historian Justo L. González:
Both armies faced each other at the camps of Toro resulting in an indecisive battle. But while the Portuguese King reorganised his troops, Ferdinand sent news to all the cities of Castile and to several foreign kingdoms informing them about a huge victory where the Portuguese were crushed. Faced with these news, the party of "la Beltraneja" [Joanna] was dissolved and the Portuguese were forced to return to their kingdom.
With great political vision, Isabella took advantage of the moment and convoked courts at Madrigal-Segovia (April–October 1476) where her eldest child and daughter Isabella was first sworn as heiress to Castile's crown. That was equivalent to legitimising Isabella's own throne.
In August of the same year, Isabella proved her abilities as a powerful ruler on her own. A rebellion broke out in Segovia, and Isabella rode out to suppress it, as her husband Ferdinand was off fighting at the time. Going against the advice of her male advisors, Isabella rode by herself into the city to negotiate with the rebels. She was successful and the rebellion was quickly brought to an end. Two years later, Isabella further secured her place as ruler with the birth of her son John, Prince of Asturias, on 30 June 1478. To many, the presence of a male heir legitimised her place as ruler.
Meanwhile, the Castilian and Portuguese fleets fought for hegemony in the Atlantic Ocean and for the wealth of Guinea (gold and slaves), where the decisive naval Battle of Guinea was fought.
The war dragged on for another three years and ended with a Castilian victory on land and a Portuguese victory on the sea. The four separate peace treaties signed at Alcáçovas (4 September 1479) reflected that result: Portugal gave up the throne of Castile in favour of Isabella in exchange for a very favourable share of the Atlantic territories disputed with Castile (they all went to Portugal with the exception of the Canary Islands: Guinea with its mines of gold, Cape Verde, Madeira, Azores, and the right of conquest over the Kingdom of Fez) plus a large war compensation: 106.676 dobles of gold. The Catholic Monarchs also had to accept that Joanna la Beltraneja remain in Portugal instead of Spain and to pardon all rebellious subjects who had supported Joanna and King Afonso. And the Catholic Monarchswho had proclaimed themselves rulers of Portugal and donated lands to noblemen inside this countryhad to give up the Portuguese crown.
At Alcáçovas, Isabella and Ferdinand had conquered the throne, but the Portuguese exclusive right of navigation and commerce in all of the Atlantic Ocean south of the Canary Islands meant that Spain was practically blocked out of the Atlantic and was deprived of the gold of Guinea, which induced anger in Andalusia. Spanish academic Antonio Rumeu de Armas claims that with the peace treaty of Alcáçovas in 1479, the Catholic Monarchs "... buy the peace at an excessively expensive price ..." and historian Mª Monserrat León Guerrero added that they "... find themselves forced to abandon their expansion by the Atlantic ...".
Christopher Columbus freed Castile from this difficult situation, because his New World discovery led to a new and much more balanced sharing of the Atlantic at Tordesillas in 1494. As the orders received by Columbus in his first voyage (1492) show: "[the Catholic Monarchs] have always in mind that the limits signed in the share of Alcáçovas should not be overcome, and thus they insist with Columbus to sail along the parallel of Canary." Thus, by sponsoring the Columbian adventure to the west, the Spanish monarchs were trying the only remaining path of expansion. As is now known, they would be extremely successful on this issue. Isabella had proven herself to be a fighter and tough monarch from the start. Now that she had succeeded in securing her place on the Castilian throne, she could begin to institute the reforms that the kingdom desperately needed.
Reform
Regulation of crime
When Isabella came to the throne in 1474, Castile was in a state of despair due to her brother Henry's reign. It was known that Henry IV was a big spender and did little to enforce the laws of his kingdom. It was even said by one Castilian denizen of the time that murder, rape, and robbery happened without punishment. Because of this, Isabella needed desperately to find a way to reform her kingdom. Due to the measures she imposed, historians during her lifetime saw her to be more inclined to justice than to mercy, and indeed far more rigorous and unforgiving than her husband Ferdinand.
La Santa Hermandad
Isabella's first major reform came during the cortes of Madrigal in 1476 in the form of a police force, La Santa Hermandad (the Holy Brotherhood). Although 1476 was not the first time that Castile had seen the Hermandad, it was the first time that the police force was used by the crown. During the late medieval period, the expression hermandad had been used to describe groups of men who came together of their own accord to regulate law and order by patrolling the roads and countryside and punishing malefactors. These brotherhoods had usually been suppressed by the monarch, however.
Furthermore, before 1476, the justice system in most parts of the country was effectively under the control of dissident members of the nobility rather than royal officials. To fix this problem, during 1476, a general Hermandad was established for Castile, Leon, and Asturias. The police force was to be made up of locals who were to regulate the crime occurring in the kingdom. It was to be paid for by a tax of 1800 maravedís on every one hundred households. In 1477, Isabella visited Extremadura and Andalusia to introduce this more efficient police force there as well.
Other criminal reforms
Keeping with her reformation of the regulation of laws, in 1481 Isabella charged two officials with restoring peace in Galicia. This turbulent province had been the prey of tyrant nobles since the days of Isabella's father, John II. Robbers had infested the highways and oppressed the smaller towns and villages. The officials Isabella charged set off with the Herculean task of restoring peace for the province and were ultimately successful. Indeed, they drove over 1,500 robbers from Galicia.
Finances
From the very beginning of her reign, Isabella fully grasped the importance of restoring the Crown's finances. The reign of Henry IV had left the kingdom of Castile in great debt. Upon examination, it was found that the chief cause of the nation's poverty was the wholesale alienation of royal estates during Henry's reign. To make money, Henry had sold off royal estates at prices well below their value. The Cortes of Toledo of 1480 came to the conclusion that the only hope of lasting financial reform lay in a resumption of these alienated lands and rents. This decision was warmly approved by many leading nobles of the court, but Isabella was reluctant to take such drastic measures. It was decided that the Cardinal of Spain would hold an enquiry into the tenure of estates and rents acquired during Henry IV's reign. Those that had not been granted as a reward for services were to be restored without compensation, while those that had been sold at a price far below their real value were to be bought back at the same sum. While many of the nobility were forced to pay large sums of money for their estates, the royal treasury became even richer. Isabella's one stipulation was that there would be no revocation of gifts made to churches, hospitals, or the poor.
Another issue of money was the overproduction of coinage and the abundance of mints in the kingdom. During Henry's reign, the number of mints regularly producing money had increased from just five to 150. Much of the coinage produced in these mints was nearly worthless. During the first year of her reign, Isabella established a monopoly over the royal mints and fixed a legal standard to which the coinage had to approximate. By shutting down many of the mints and taking royal control over the production of money, Isabella restored the confidence of the public in the Crown's ability to handle the kingdom's finances.
Government
Both Isabella and Ferdinand established very few new governmental and administrative institutions in their respective kingdoms. Especially in Castile, their main achievement was to use more effectively the institutions that had existed during the reigns of John II and Henry IV. Historically, the center of the Castilian government had been the royal household, together with its surrounding court. The household was traditionally divided into two overlapping bodies. The first body was made up of household officials, mainly people of the nobility, who carried out governmental and political functions for which they received special payment. The second body was made up of some 200 permanent servants or continos who performed a wide range of confidential functions on behalf of the rulers. By the 1470s, when Isabella began to take a firm grip on the royal administration, the senior offices of the royal household were simply honorary titles and held strictly by the nobility. The positions of a more secretarial nature were often held by senior churchmen. Substantial revenues were attached to such offices and were therefore enjoyed greatly, on an effectively hereditary basis, by the great Castilian houses of nobility. While the nobles held the titles, individuals of lesser breeding did the real work.
Traditionally, the main advisory body to the rulers of Castile was the Royal Council. The council, under the monarch, had full power to resolve all legal and political disputes. The council was responsible for supervising all senior administrative officials, such as the Crown representatives in all of the major towns. It was also the supreme judicial tribunal of the kingdom. In 1480, during the Cortes of Toledo, Isabella made many reforms to the Royal Council. Previously there had been two distinct yet overlapping categories of royal councillor. One formed a group which possessed both judicial and administrative responsibilities. This portion consisted of some bishops, some nobles, and an increasingly important element of professional administrators with legal training known as letrados. The second category of traditional councillor had a less formal role. This role depended greatly on the individuals' political influence and personal influence with the monarch. During Isabella's reign, the role of this second category was completely eliminated. As mentioned previously, Isabella had little care for personal bribes or favours. Because of this, this second type of councillor, usually of the nobility, was only allowed to attend the council of Castile as an observer.
Isabella began to rely more on the professional administrators than ever before. These men were mostly of the bourgeoisie or lesser nobility. The council was also rearranged and it was officially settled that one bishop, three caballeros, and eight or nine lawyers would serve on the council at a time. While the nobles were no longer directly involved in the matters of state, they were welcome to attend the meetings. Isabella hoped by forcing the nobility to choose whether to participate or not would weed out those who were not dedicated to the state and its cause.
Isabella also saw the need to provide a personal relationship between herself as the monarch and her subjects. Therefore, Isabella and Ferdinand set aside a time every Friday during which they themselves would sit and allow people to come to them with complaints. This was a new form of personal justice that Castile had not seen before. The Council of State was reformed and presided over by the King and Queen. This department of public affairs dealt mainly with foreign negotiations, hearing embassies, and transacting business with the Court of Rome. In addition to these departments, there was also a Supreme Court of the Santa Hermandad, a Council of Finance, and a Council for settling purely Aragonese matters. Although Isabella made many reforms that seem to have made the Cortes stronger, in actuality the Cortes lost political power during the reigns of Isabella and Ferdinand. Isabella and her husband moved in the direction of a non-parliamentary government and the Cortes became an almost passive advisory body, giving automatic assent to legislation which had been drafted by the royal administration.
After the reforms of the Cortes of Toledo, the Queen ordered a noted jurist, Alfonso Diaz de Montalvo, to undertake the task of clearing away legal rubbish and compiling what remained into a comprehensive code. Within four years the work stood completed in eight bulky volumes and the Ordenanzas Reales took their place on legal bookshelves.
Events of 1492
Granada
At the end of the Reconquista, only Granada was left for Isabella and Ferdinand to conquer. The Emirate of Granada had been held by the Muslim Nasrid dynasty since the mid-13th century. Protected by natural barriers and fortified towns, it had withstood the long process of the reconquista. On 1 February 1482, the king and queen reached Medina del Campo and this is generally considered the beginning of the war for Granada. While Isabella's and Ferdinand's involvement in the war was apparent from the start, Granada's leadership was divided and never able to present a united front. It still took ten years to conquer Granada, however, culminating in 1492.
The Spanish monarchs recruited soldiers from many European countries and improved their artillery with the latest and best cannon. Systematically, they proceeded to take the kingdom piece by piece. In 1485 they laid siege to Ronda, which surrendered after only a fortnight due to extensive bombardment. The following year, Loja was taken, and again Muhammad XII was captured and released. One year later, with the fall of Málaga, the western part of the Muslim Nasrid kingdom had fallen into Spanish hands. The eastern province succumbed after the fall of Baza in 1489. The siege of Granada began in the spring of 1491 and Muhammad XII finally surrendered at the end of the year. On 2 January 1492, Isabella and Ferdinand entered Granada to receive the keys of the city and the principal mosque was reconsecrated as a church. The Treaty of Granada was signed later that year; in it, Ferdinand and Isabella gave their word to allow the Muslims and Jews of Granada to live in peace.
During the war, Isabella noted the abilities and energy of Gonzalo Fernández de Córdoba and made him one of the two commissioners for the negotiations. Under her patronage, De Córdoba went on to an extraordinary military career that revolutionised the organisation and tactics of the emerging Spanish military, changing the nature of warfare and altering the European balance of power.
Columbus and Portuguese relations
Just three months after entering Granada, Queen Isabella agreed to sponsor Christopher Columbus on an expedition to reach the East Indies by sailing west (for a distance of 2000 miles, according to Columbus). The crown agreed to pay a sum of money as a concession from monarch to subject.
Columbus's expedition departed on 3 August 1492, and arrived in the New World on 12 October. He returned the next year and presented his findings to the monarchs, bringing natives and gold under a hero's welcome. Although Columbus was sponsored by the Castilian queen, treasury accounts show no royal payments to him until 1493, after his first voyage was complete. Spain then entered a Golden Age of exploration and colonisation—the period of the Spanish Empire. In 1494, by the Treaty of Tordesillas, Isabella and Ferdinand agreed to divide the Earth, outside of Europe, with King John II of Portugal. The Portuguese did not recognize that South America belonged to the Spanish because it was in Portugal's sphere of influence, and King John II threatened to send an army to claim the land for the Portuguese.
Position on slavery
Isabella was not in favor of enslaving the American natives. She established the royal position on how the indigenous people should be treated by following the recent policies implemented in the Canary Islands (which had a small amount of native inhabitants), which stated that all peoples were subjects of the Crown of Castile, and could not be enslaved in most situations. There were some circumstances in which a person could be enslaved, including being a prisoner of war, or for practicing cannibalism or sodomy.
After an episode in which Columbus captured 1,200 men, Isabella ordered their return and the arrest of Columbus, who was insulted in the streets of Granada. Isabella realized that she could not trust all the conquest and evangelization to take place through one man, so she opened the range for other expeditions led by Alonso de Hojeda, Juan de la Cosa, Vicente Yáñez Pinzón, or Pedro Alonso Niño.
To prevent her efforts from being reversed in the future, Isabella instructed her descendants in her last will as follows: "do not give rise to or allow the Indians [indigenous Americans] to receive any wrong in their persons and property, but rather that they be treated well and fairly, and if they have received any wrong, remedy it."
Expulsion of the Jews
With the institution of the Roman Catholic Inquisition in Spain, and with the Dominican friar Tomás de Torquemada as the first Inquisitor General, the Catholic Monarchs pursued a policy of religious and national unity. Though Isabella opposed taking harsh measures against Jews on economic grounds, Torquemada was able to convince Ferdinand. On 31 March 1492, the Alhambra decree for the expulsion of the Jews was issued. The Jews had until the end of July, four months, to leave the country and they were not to take with them gold, silver, money, arms, or horses. Traditionally, it had been claimed that as many as 200,000 Jews left Spain, but recent historians have shown that such figures are exaggerated: Henry Kamen has shown that out of a total population of 80,000 Jews, a maximum of 40,000 left and the rest converted. Hundreds of those that remained came under the Inquisition's investigations into relapsed conversos (Marranos) and the Judaizers who had been abetting them.
Later years
Isabella was given the title of Catholic Monarch by Pope Alexander VI, whose behavior and involvement in matters Isabella did not approve of. Along with the physical unification of Spain, Isabella and Ferdinand embarked on a process of spiritual unification, trying to bring the country under one faith (Roman Catholicism). As part of this process, the Inquisition became institutionalised. After a Muslim uprising in 1499, and further troubles thereafter, the Treaty of Granada was broken in 1502, and Muslims were ordered to either become Christians or to leave. Isabella's confessor, Cisneros, was named Archbishop of Toledo. He was instrumental in a program of rehabilitation of the religious institutions of Spain, laying the groundwork for the later Counter-Reformation. As Chancellor, he exerted more and more power.
Isabella and her husband had created an empire and in later years were consumed with administration and politics; they were concerned with the succession and worked to link the Spanish crown to the other rulers in Europe. By early 1497, all the pieces seemed to be in place: The son and heir John, Prince of Asturias, married a Habsburg princess, Margaret of Austria, establishing the connection to the Habsburgs. The eldest daughter, Isabella of Aragon, married King Manuel I of Portugal, and the younger daughter, Joanna of Castile, was married to a Habsburg prince, Philip I of Habsburg. In 1500, Isabella granted all non-rebellious natives in the colonies citizenship and full legal freedom by decree.
However, Isabella's plans for her eldest two children did not work out. Her only son, John of Asturias, died shortly after his marriage. Her daughter, Isabella of Aragon, died during the birth of her son, Miguel da Paz, who died shortly after, at the age of two. Queen Isabella I's crowns passed to her third child, Joanna, and her son-in-law, Philip I.
Isabella did, however, make successful dynastic matches for her two youngest daughters. The death of Isabella of Aragon created a necessity for Manuel I of Portugal to remarry, and Isabella's third daughter, Maria of Aragon, became his next bride. Isabella's youngest daughter, Catherine of Aragon, married England's Arthur, Prince of Wales, but his early death resulted in her being married to his younger brother, King Henry VIII of England.
Isabella officially withdrew from governmental affairs on 14 September 1504 and she died that same year on 26 November at the Medina del Campo Royal Palace. She had already been in decline since the deaths of her son Prince John of Asturias in 1497, her mother Isabella of Portugal in 1496, and her daughter Princess Isabella of Asturias in 1498. She is entombed in Granada in the Capilla Real, which was built by her grandson, Charles V, Holy Roman Emperor (Carlos I of Spain), alongside her husband Ferdinand, her daughter Joanna and Joanna's husband Philip I; and Isabella's 2-year-old grandson, Miguel da Paz (the son of Isabella's daughter, also named Isabella, and King Manuel I of Portugal). The museum next to the Capilla Real holds her crown and scepter.
Appearance and personality
Isabella was short but of strong stocky build, of a very fair complexion, and had a hair color that was between strawberry-blonde and auburn. Other descriptions, however, describe her hair as golden (blonde), and period illuminations show her several times with golden or strawberry blond hair.
Some portraits show her as a brunette. That is due to a phenomenon occurring in old portraits, which often causes hair pigments to go dark brown. Many portraits from the 15th and 16th centuries are a victim of it. However, the statue of her in Granada Cathedral, by Burgundian sculptor Philippe de Vigarny (born in Langres, in what is now France), also shows her as a dark-haired brunette.
Her daughters, Joanna and Catherine, were thought to resemble her the most in looks.
Isabella maintained an austere, temperate lifestyle, and her religious spirit influenced her the most in life. In spite of her hostility towards the Muslims in Andalusia, Isabella developed a taste for Moorish decor and style.
Isabella's contemporaries described her as follows:
Gonzalo Fernández de Oviedo y Valdés: "To see her speak was divine."
: "She was an endeavored woman, very powerful, very prudent, wise, very honest, chaste, devout, discreet, truthful, clear, without deceit. Who could count the excellences of this very Catholic and happy Queen, always very worthy of praises."
Hernando del Pulgar: "She was very inclined to justice, so much so that she was reputed to follow more the path of rigor than that of mercy, and did so to remedy the great corruption of crimes that she found in the kingdom when she succeeded to the throne."
: "[The royal knight Álvaro Yáñez de Lugo] was condemned to be beheaded, although he offered forty thousand ducados for the war against the Moors to the court so that these monies spare his life. This matter was discussed with the queen, and there were some who told her to pardon him, since these funds for the war were better than the death of that man, and her highness should take them. But the queen, preferring justice to cash, very prudently refused them; and although she could have confiscated all his goods, which were many, she did not take any of them to avoid any note of greed, or that it be thought that she had not wished to pardon him in order to have his goods; instead, she gave them all to the children of the aforesaid knight."
Ferdinand, in his testament, declared that "she was exemplary in all acts of virtue and of fear of God."
Fray Francisco Jiménez de Cisneros, her confessor and the Grand Inquisitor, praised "her purity of heart, her big heart and the grandness of her soul".
Family
Isabella and Ferdinand had seven children, five of whom survived to adulthood:
Isabella (1470–1498) married firstly to Afonso, Prince of Portugal, no issue. Married secondly to Manuel I of Portugal, had Miguel da Paz, who died before his second birthday.
A son, miscarried on 31 May 1475 in Cebreros
John (1478–1497), Prince of Asturias. Married Archduchess Margaret of Austria, no surviving issue.
Joanna (1479–1555), Queen of Castile. Married Philip the Handsome, had issue.
Maria (1482–1517), married Manuel I of Portugal, her sister's widower, had issue.
A daughter, stillborn twin sister of Maria. Born on 1 July 1482 at dawn.
Catherine (1485–1536), married firstly to Arthur, Prince of Wales, no issue. Married his younger brother, Henry VIII of England, had Henry, Duke of Cornwall and Mary I of England.
Cause of beatification and canonization
In 1958, José García Goldaraz, the Bishop of Valladolid where she died in 1504, started the canonical Catholic process of the Cause of Beatification and Canonization of Isabella. 17 experts were appointed to investigate more than 100,000 documents in the archives of Spain and the Vatican and the merits of opening a canonical process of canonization. 3,500 of these were chosen to be included in 27 volumes.
In 1970, that Commission determined that "A Canonical process for the canonization of Isabella the Catholic could be undertaken with a sense of security since there was not found one single act, public or private, of Queen Isabella that was not inspired by Christian and evangelical criteria; moreover there was a 'reputation of sanctity' uninterrupted for five centuries and as the investigation was progressing, it was more accentuated."
In 1972, the Process of Valladolid was officially submitted to the Congregation for the Causes of Saints in the Vatican. This process was approved and Isabel was given the title "Servant of God" in March 1974. The cause was initially stopped in 1991, one year before the commemoration of the fifth centenary of the discovery of the New World, due to her expulsion of the Jews. In April 2020, Cardinal Cañizares confirmed that Pope Francis had requested that Spanish bishops reopen Isabella's cause for canonization.
Some authors have claimed that Isabella's reputation for sanctity derives in large measure from an image carefully shaped and disseminated by the queen herself.
Arms
As Princess of Asturias, Isabella bore the undifferenced royal arms of the Crown of Castile and added the Saint John the Evangelist's Eagle, an eagle displayed as single supporter. As queen, she quartered the Royal Arms of the Crown of Castile with the Royal Arms of the Crown of Aragon, she and Ferdinand II of Aragon adopted a yoke and a bundle of arrows as heraldic badges. As co-monarchs, Isabella and Ferdinand used the motto "Tanto Monta" ("They amount to the same", or "Equal opposites in balance"), which refers to their prenuptial agreement. The conquest of Granada in 1492 was symbolised by the addition enté en point of a quarter with a pomegranate for Granada (in Spanish, Granada means pomegranate). There was an uncommon variant with the Saint John the Evangelist's eagle and two lions adopted as Castilian royal supporters by John II, Isabella's father.
Legacy
Isabella is most remembered for enabling Columbus' voyage to the New World, which ushered in an era of great wealth for Spain and Europe. Her reign saw the founding of the Spanish Empire, which in turn ultimately led to establishment of the modern nations of the Americas.
She and her husband completed the Reconquista, driving out the most significant Muslim influence in Western Europe and firmly establishing Spain and the Iberian peninsula as staunchly Catholic. Her reign also established the Spanish Inquisition.
Commemoration
The Spanish crown created the Order of Isabella the Catholic in 1815 in honor of the queen.
Isabella was the first woman to be featured on US postage stamps, namely on three stamps of the Columbian Issue, also in celebration of Columbus. She appears in the 'Columbus soliciting aid of Isabella', 5-cent issue, and on the Spanish court scene replicated on the 15-cent Columbian, and on the $4 issue, in full portrait, side by side with Columbus.
The $4 stamp is the only stamp of that denomination ever issued and one which collectors prize not only for its rarity (only 30,000 were printed) but its beauty, an exquisite carmine with some copies having a crimson hue. Mint specimens of this commemorative have been sold for more than $20,000.
Isabella was also the first named woman to appear on a United States coin, the 1893 commemorative Isabella quarter, celebrating the 400th anniversary of Columbus's first voyage.
Ancestry
Notes
References
Further reading
Boruchoff, David A. Isabel la Católica, Queen of Castile: Critical Essays. New York: Palgrave Macmillan, 2003.
, Bailey W. and Winius, George D. (1977) Foundations of the Portuguese Empire, 1415–1580, Volume 1, University of Minnesota Press.
Downey, Kirsten "Isabella, The Warrior Queen,". New York, Anchor Books, Penguin, 2014.
, Edmondo Michael (1992) Medieval Iberia: An Encyclopedia, Taylor & Francis.
Edwards, John. The Spain of the Catholic Monarchs, 1474–1520. Oxford: Blackwell 2000.
Hillgarth, J.N. The Spanish Kingdoms, 1250–1516. Castilian hegemony. Oxford 1978.
Hunt, Joceyln (2001) Spain, 1474–1598. Routledge, 1st Ed.
Kamen, Henry. The Spanish Inquisition: a historical revision (Yale University Press, 2014)
Liss, Peggy K. (1992) Isabel the Queen. New York: Oxford University Press;
, Marvin (1970) "The council of the Santa Hermandad: a study of the pacification forces of Ferdinand and Isabella", University of Miami Press.
Miller, Townsend Miller (1963) The Castles and the Crown: Spain 1451–1555. New York: Coward-McCann
Prescott, William H. (1838). History of the Reig of Ferdinand and Isabella.
Roth, Norman (1995) Conversos, Inquisition, and the Expulsion of the Jews from Spain. (Madison: The University of Wisconsin Press)
Stuart, Nancy Rubin. Isabella of Castile: the First Renaissance Queen (New York: St. Martin's Press, 1991)
Tremlett, Giles. '"Isabella of Castile. Europe's First Great Queen"' (London: Bloomsbury, 2017)
Tremlett, Giles. "Catherine of Aragon. Henry's Spanish Queen" (London: Faber and Faber, 2010)
Weissberger, Barbara F. Queen Isabel I of Castile: Power, Patronage, Persona (2008)
Weissberger, Barbara F. Isabel Rules: Constructing Queenship, Wielding Power (2003)
In Spanish and Portuguese
Books
, Antonio Rumeu (1992) El tratado de Tordesillas. Madrid: Colecciones MAPFRE 1492, book description.
Azcona, Tarsicio de. Isabel la Católica. Estudio crítico de su vida y su reinado. Madrid 1964.
, Joseph-Louis Ripault (1758) Abrégé chronologique de l'histoire de l'Éspagne, Duchesne, Paris, 3rd Tome.
, Jean (1993) La "imcomparable" Isabel la Catolica (The "incomparable" Isabella, the Catholic), Madrid: Encuentro Editiones, printed by Rogar-Fuenlabrada (Spanish edition).
, Justo L. (1994) Historia del Cristianismo, Miami: Editorial Unilit, Tome 2.
, Mª Monserrat León (2002) El segundo viaje colombino, Alicante: Biblioteca Virtual Miguel de Cervantes.
Ladero Quesada, Miguel Angel. La España de los Reyes Católicos, Madrid 1999.
, Ana Isabel Carrasco (2006) Isabel I de Castilla y la sombra de la ilegitimidad. Propaganda y representación en el conflicto sucesorio (1474–1482), Madrid: Sílex ediciones.
, Manuela (2007) O Sonho da União Ibérica – guerra Luso-Castelhana 1475/1479, Lisboa: Quidnovi, book description.
Pereira, Isabel Violante (2001) De Mendo da Guarda a D. Manuel I. Lisboa: Livros Horizonte
Perez, Joseph. Isabel y Fernando. Los Reyes Católicos. Madrid 1988.
Suárez Fernández, L. and M. Fernández (1969) La España de los reyes Católicos (1474–1516).
Articles
, Antonio Ballesteros (1941) Fernando el Católico, in Ejército revue, Ministerio del Ejercito, Madrid, nr 16, p. 54–66, May 1941.
, Rafael Dominguez (1990) San Juan de los reyes: espacio funerário y aposento régio – in Boletín del Seminário de Estúdios de Arte y Arqueologia, number 56, p. 364–383, University of Valladolid.
, Cesáreo Fernández (1901) La batalla de Toro (1476). Datos y documentos para su monografía histórica, Madrid: Boletín de la Real Academia de la Historia, tomo 38.
,Vicente Ángel Alvarez (2006) La guerra civil castellana y el enfrentamiento con Portugal (1475–1479), Universidad de Alicante, Biblioteca Virtual Miguel de Cervantes.
, Miguel-Ángel Ladero (2000) Portugueses en la frontera de Granada, Revista En la España medieval, Universidad Complutense, nr. 23, pages 67–100.
, António Macia- San Juan de los Reyes y la batalla de Toro, revista Toletum, segunda época, 1979 (9), pp. 55–70. Toledo: Real Academia de Bellas Artes y Ciencias Históricas de Toledo. ISSN: 0210-6310
Chronicles
, Damião de (1724) Chronica do Principe D. Joam, edited by Lisboa occidental at the officina da Música, Lisboa (Biblioteca Nacional Digital).
, Juan de (1839) Historia General de España, tome V Barcelona: printing press of D. Francisco Oliva.
, Alfonso de – Gesta Hispaniensia ex annalibus suorum diebus colligentis, Década III [https://books.google.com/books?id=-1A3cWT_1kAC&pg=PA93&lpg=PA93&dq=%22Alonso+de+Palencia+decada+cuarta+naves+castellanas%22&source=bl&ots=kdDs0IZIC2&sig=1GhLLlK7uT95iMhwkS2KqoLeBJQ&hl=pt-PT&ei=zGpZTbrYFIKAhQf-9YyDDQ&sa=X&oi=book_result&ct=result&resnum=1&ved and IV] (the three first Décadas were edited as Cronica del rey Enrique IV by Antonio Paz y Meliá in 1904 and the fourth as Cuarta Década by José Lopes de Toro in 1970).
, Ruy de (1902) Chronica de El- rei D. Affonso V, Project Gutenberg Ebook, Biblioteca de Clássicos Portugueses, 3rd book, Lisboa.
, Hernando del (1780) Crónica de los Señores Reyes Católicos Don Fernando y Doña Isabel de Castilla y de Aragón, (Biblioteca Virtual Miguel de Cervantes), Valencia: edited by Benito Monfort.
, Garcia de – Vida e feitos d'El Rei D.João II electronic version, wikisource.
External links
Isabella I in the Catholic Encyclopedia
Medieval Sourcebook: Columbus' letter to King and Queen of Spain, 1494
Music at Isabella's court
University of Hull: Genealogy information on Isabella I
El obispo judío que bloquea a la "santa". A report in Spanish about the beatification in El Mundo
Isabella I of Castile – Facts (Video) | Check123 – Video Encyclopedia
1451 births
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15th-century Castilian monarchs
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History of Catholicism in Spain
House of Trastámara
Majorcan queens consort
People from the Province of Ávila
Princes of Asturias
Queens regnant
Order of Isabella the Catholic
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Spanish people of English descent
Spanish people of Portuguese descent
Spanish Renaissance people
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Roman Catholic royal saints
15th-century Spanish women
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16th-century venerated Christians
Spanish exploration in the Age of Discovery
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[
"\"Hong Kong Kids\" or \"Kong Kids\" (Kong Hai; ; Putonghua: Gǎng Hái) is a derogatory expression that refers to a subset of children or teenagers in Hong Kong who are overly dependent on their families, have low emotional intelligence and lack self-management skills. \nThe term \"Kong Kids\" was coined in 2009 in a book titled Kong Kids: The Nightmares for Parents and Teachers published by MingPao. The book argues that there are five negative characteristics common in children born in Hong Kong after the 1990s.\n\nDescription\nThey are typically born during the 1990s to 2000s, are middle-class families, and are pampered and spoiled by domestic helpers.\n\nKong Kids typically have several common characteristics. For young children, they often lack life skills, such as bathing, cooking, and tying shoelaces. They are used to relying on their parents and foreign domestic helpers.\n\nAccording to a survey by People's Daily Online, almost half of the parents who responded said that their children cannot eat, bathe or dress themselves independently and 15% of the respondents even said their children could not use the toilet independently. When faced with difficulty, \"Kong Kids\" expect others to solve the problems, because they are inexperienced with managing setbacks and have low self-esteem.\n\nThey are usually emotional and self-centred. With low Emotional Quotient (EQ), Kong Kids cannot control their emotion in any circumstances, such as dealing with unpleasant situations. They want to be under the spotlight and cared for by everyone.\n\nKong Kids are almost always not willing or able to solve problems by themselves. Being afraid of failure, they evade adversity and rely on parents.\n\nThey are usually weak in interpersonal communication and self-control. Being self-centred, they cannot put themselves into others' shoes and respect others' opinions. They lack basic manners and come into conflicts easily.\n\nMost of the parents are over-protective of their children and shield them from difficulties and injuries. They are often referred to as \"monster parents\". Parents usually hire foreign domestic helpers to take care of their children, spoil them excessively and satisfy most of their requests. Indulging by parents may lead children to narcissism.\n\nKong Kids often love chasing new trends and pursuing well-known brands. Most of them own brand name goods and electronic gadgets such as mobile phones, iPads, iPods, digital cameras, etc. They do not treasure what they have and look for a materialistic life.\n\nCauses\nNowadays, Hong Kong families typically have one or at most two children. According to some educational experts, some so-called 'monster parents 'protect their children so well that they do not allow children to experience any setback. For instance, in 2010, the Hong Kong students could not get on the planes because of a snowstorm in London. The parents then strongly requested the government to assist students stranded at the airport. This issue induced a lot of criticisms towards parents because of their over-protection. The over-protected children hence have low resilience and can hardly overcome difficulties, which results in Kong Kids.\n\nMost parents in Hong Kong also work full-time. This frequently means they employ a foreign domestic helper to take care of their children. According to a survey, nearly 90% of parents employ a foreign domestic helper to take care of their children. The domestic helpers are not responsible for correcting children's behaviour even though the kids behave wrongly. Therefore, some children become rebellious, impolite and disrespectful of others - characteristics of Kong Kids.\n\nFinally, Hong Kong is an exam-obsessed city where most parents emphasise their children's academic results. The parents understate the need for resilience in their kids. Some children are expected to focus exclusively on academic matters, and not housework or other chores. As a result, these kids become dependent, both physically and psychologically, that is, they become Kong Kids.\n\nEffects\n\nDependent individuals\nKids with \"Kong Kid\" symptoms have little ability to care for themselves and poor problem-solving skills. When faced with adversity, they immediately give up which can lead to feelings of melancholia and, in serious cases, suicide. Kong Kids tend to remain childlike and stunted psychologically.\n\nFor instance, in 2011, a snowstorm paralysed the London Heathrow Airport, many Hong Kong students who came home for holiday were stranded at the airport. They stayed in the banquet rooms of hotels or slept in the airport. During that period, those Hong Kong students complained continuously about the situation and that the banquet rooms were like concentration camps.\n\nKong Kids have negative effects on themselves. Being spoiled, they do not know how to take care of themselves but to depend on others to live their lives. Therefore, Kong Kids have low self-care ability when compared to normal kids. For most of the time, Kong Kids' parents will help them to deal with all difficulties they face, such as handling conflicts between friends and communicating with teachers. In short term, Kong Kids lose a lot of social chances and cannot deal with hurdles by themselves while in long term, Kong Kids will lack essential communication skills and initiation of solving problems.\n\nPoor family situations and relationships\nBecause the children rely excessively on others for care, this pressures parents to be responsible for their child's actions. The embarrassment and frustration of managing children's poor behaviour at home and in public prevents the growth of a healthy parent-child relationship and parents may feel frustrated and humiliated by their children's behaviour.\n\nBurdens for Hong Kong's society \nChildren are the future generations, but Kong Kids may not be equipped to survive in the real world as they are unable to interact with and accommodate others. They do not cherish what they have and are less able to tolerate hardships at work and are at risk for termination of employment. This decreases the effectiveness of the workforce.\n\nKong Kids also negatively impact society. Depending on their parents, Kong Kids have low problem-solving abilities. As a result, once they step into society, they cannot solve problems efficiently, decreasing the productive potential of society. Because their parents solve their problems for them, Kong Kids usually lack motivation to work. The short supply of motivated and enthusiastic citizens reduces the society's competitiveness and therefore its affluence.\n\nSolution\nTo avoid children becoming Kong Kids, parents and schools need to cooperate. According to child and education psychologists, parents should stop over-protecting their children and allow them to learn life self-care skills from daily life like buttoning shirts, tying shoe laces and feeding themselves. They should explain to their children the importance of these skills but not simply tell them to follow. Moreover, parents need to give children room to learn being independent. In order to equip children with the ability to cope with adversity, when they face difficulties, parents should let children solve it on their own rather than tackling it for them. While at school, teachers should guide students to develop interpersonal skills. This is a rare opportunity at home as the family size are usually small.\n\nIn media\nIn the book Kong Kids: The Nightmares for Parents and Teachers, written by Wong Ming Lok, Hong Kong Children are defined as those born from the middle of 90s to the early 2000s, which is an affluent era with information explosion.\nOther literature denote Kong Kids as the \"3-low Kong Kid\". According to the newspaper article which originated this term, Hong Kong children have low autonomy, low emotion quotient and also low studying ability. Some of them do not help with the chores. They do not know how to change their clothes, shower themselves, tie the shoelaces and even tidy up Hong Kong children are vulnerable, not adaptable to challenges and difficulties, some of them may commit suicide due to academic pressure, family and emotional issues.\n\nOn 9 July 2011, a video entitled Tai Po Impolite Kong Kid Scolding Parents () was filmed by witnesses to the incident, posted on websites like YouTube, and was reported by the media.\n\nIn the three-minute video, a young boy with his hands on his hips shouted and condemned his parents for \"forcing\" him to accompany them to the Tai Po supermarket. He threatened to call the police and despite a surrounding crowd, spoke foul language when his parents asked him to be quiet. A passer-by, unable to stand the child's behaviour, gave the child HK$20 so that he could take a taxi home and stop harassing his parents. This video hit the local news and magazines.\n\nSee also\n Education in Hong Kong\n \"Four–two–one\" or \"4–2–1\" phenomenon\n Helicopter parents\n Narcissism\n Princess sickness\n Spoiled child\n\nReferences\n\nCulture of Hong Kong\nHong Kong children\nHong Kong society\nParenting\nSocial issues in China\nStereotypes of East Asians",
"\"DINK\" is an acronym that stands for \"double income, no kids\" or \"dual income, no kids\". It describes a couple without children living together while both partners are receiving an income; because both of their wages are coming into the same household, they are free to live more comfortably than couples who live together and spend their money on raising their children. The term was coined at the height of yuppie culture in the 1980s. The Great Recession solidified this social trend, as more couples waited longer to have children or chose not to have children at all.\n\nVariations\n\"DINKER\" means \"dual (or double) income, no kids, early retirement\".\n\n\"DINKY\" means \"double income, no kids yet\", implying that the couple in question is childless only temporarily and intends to have children later, rather than eschewing having children entirely. The British radio sitcom Double Income, No Kids Yet bore this name.\n\n\"GINK\" means \"green inclinations, no kids\", referring to those who choose not to have children for environmental reasons.\n\n\"DINKWAD\" means \"Double income, no kids, with a dog\" \n\n\"DINKYWAD\" means \"Double income, no kids yet, with a dog\" \n\n\"DINKWAC\" means \"Double income, no kids, with a cat\"\n\nSome marketers have proposed \"yappie\" (\"young affluent parent\", adapted from \"yuppie\") as a term to describe similar couples who do have children.\n\nSee also\n\n Childlessness\n Doug, a TV series on which one of the characters has the last name \"Dink\", in reference to the acronym\n Emerging adulthood\n FIRE movement\n Total fertility rate\n Voluntary childlessness\n\nReferences\n\nAcronyms\nFamily\nSocial class subcultures\n1980s neologisms\nChildfree"
] |
[
"Isabella I of Castile",
"Later years",
"Was she married?",
"Isabella and her husband had created an empire",
"Where was the empire located?",
"I don't know.",
"Do they have any kids?",
"Isabella's plans for her eldest two children did not work out."
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C_e1811598f88846ebb7f7eeb9b4683533_0
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Why didnt it work out?
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Why didnt Isabella I of Castile's plans for the eldest two children work out?
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Isabella I of Castile
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Isabella received the title of Catholic Monarch by Pope Alexander VI, a pope of whose behavior and involvement in matters Isabella did not approve. Along with the physical unification of Spain, Isabella and Ferdinand embarked on a process of spiritual unification, trying to bring the country under one faith (Roman Catholicism). As part of this process, the Inquisition became institutionalised. After a Muslim uprising in 1499, and further troubles thereafter, the Treaty of Granada was broken in 1502, and Muslims were ordered to either become Christians or to leave. Isabella's confessor, Cisneros, was named Archbishop of Toledo. He was instrumental in a program of rehabilitation of the religious institutions of Spain, laying the groundwork for the later Counter-Reformation. As Chancellor, he exerted more and more power. Isabella and her husband had created an empire and in later years were consumed with administration and politics; they were concerned with the succession and worked to link the Spanish crown to the other rulers in Europe. By early 1497, all the pieces seemed to be in place: The son and heir John, Prince of Asturias, married a Habsburg princess, Margaret of Austria, establishing the connection to the Habsburgs. The eldest daughter, Isabella of Aragon, married King Manuel I of Portugal, and the younger daughter, Joanna of Castile, was married to a Habsburg prince, Philip I of Habsburg. However, Isabella's plans for her eldest two children did not work out. Her only son, John of Asturias, died shortly after his marriage. Her daughter Isabella of Aragon, whose son Miguel da Paz died at the age of two, died in childbirth. Queen Isabella I's crowns passed to her third child Joanna and her son-in-law, Philip I. Isabella did, however, make successful dynastic matches for her three youngest daughters. The death of Isabella of Aragon created a necessity for Manuel I of Portugal to remarry, and Isabella's third daughter, Maria of Aragon, became his next bride. Isabella's youngest daughter, Catherine of Aragon, married England's Arthur, Prince of Wales, but his early death resulted in her being married to his younger brother, King Henry VIII of England. Isabella officially withdrew from governmental affairs on September 14, 1504 and she died that same year on 26 November at the Medina del Campo Royal Palace. It is said that she had truly already been in decline since the death of her son Prince John of Asturias in 1497. She is entombed in Granada in the Capilla Real, which was built by her grandson, Charles V, Holy Roman Emperor (Carlos I of Spain), alongside her husband Ferdinand, her daughter Joanna and Joanna's husband Philip I; and Isabella's 2-year-old grandson, Miguel da Paz (the son of Isabella's daughter, also named Isabella, and King Manuel I of Portugal). The museum next to the Capilla Real holds her crown and scepter. CANNOTANSWER
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Her only son, John of Asturias, died shortly after his marriage. Her daughter Isabella of Aragon, whose son Miguel da Paz died at the age of two, died in childbirth.
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Isabella I (, 22 April 1451 – 26 November 1504) was Queen of Castile from 1474 until her death in 1504, reigning over a dynastically unified Spain together with her husband, King Ferdinand II of Aragon. She was Queen of Aragon after Ferdinand II ascended to that throne in 1479. Together, Isabella and Ferdinand are known as the Catholic Monarchs.
After a struggle to claim the throne, Isabella reorganized the governmental system, brought the crime rate to the lowest it had been in years, and unburdened the kingdom of the enormous debt her half-brother King Henry IV had left behind. Isabella's marriage to Ferdinand in 1469 created the basis of the de facto unification of Spain. Her reforms and those she made with her husband had an influence that extended well beyond the borders of their united kingdoms.
Isabella I of Castile and Ferdinand II of Aragon are known for being the first monarchs to be referred to as "Queen of Spain" and "King of Spain" respectively, labeled such for completing the Reconquista, for issuing the Alhambra Decree which ordered the mass expulsion of Jews and Muslims from Spain, for establishing the Spanish Inquisition, for supporting and financing Christopher Columbus's 1492 voyage that led to the discovery of the New World by Europeans and established the Spanish empire, for making Spain a major power in Europe and much of the world, and for ushering in the Spanish Golden Age. Isabella was granted, together with her husband, the title of "Catholic monarch" by Pope Alexander VI, and was recognized in 1974 as a servant of God by the Catholic Church.
Life
Early years
Isabella was born in Madrigal de las Altas Torres, Ávila, to John II of Castile and his second wife, Isabella of Portugal, on 22 April 1451. At the time of Isabella's birth, she was second in line to the throne after her older half-brother Henry IV of Castile. Henry was 26 at that time and married, but childless. Isabella's younger brother Alfonso of Castile was born two years later on 17 November 1453, lowering her position to third in line. When her father died in 1454, her half-brother ascended to the throne as King Henry IV of Castile. Isabella and her brother Alfonso were left in King Henry's care. Isabella, her mother, and Alfonso then moved to Arévalo.
These were times of turmoil for Isabella. The living conditions at their castle in Arévalo were poor, and they suffered from a shortage of money. Although her father arranged in his will for his children to be financially well taken care of, King Henry did not comply with their father's wishes, either from a desire to keep his half-siblings restricted or from ineptitude. Even though her living conditions were difficult, Isabella was instructed in lessons of practical piety and in a deep reverence for religion under the supervision of her mother.
When the King's wife, Joan of Portugal, was about to give birth to their daughter Joanna, Isabella and her brother Alfonso were summoned to court in Segovia to come under the direct supervision of the King and to finish their education. Alfonso was placed in the care of a tutor while Isabella became part of the Queen's household.
Some of Isabella's living conditions improved in Segovia. She always had food and clothing and lived in a castle that was adorned with gold and silver. Isabella's basic education consisted of reading, spelling, writing, grammar, history, mathematics, art, chess, dancing, embroidery, music, and religious instruction. She and her ladies-in-waiting entertained themselves with art, embroidery, and music. She lived a relaxed lifestyle, but she rarely left Segovia since King Henry forbade this. Her half-brother was keeping her from the political turmoil going on in the kingdom, though Isabella had full knowledge of what was going on and of her role in the feuds.
The noblemen, anxious for power, confronted King Henry, demanding that his younger half-brother Alfonso be named his successor. They even went so far as to ask Alfonso to seize the throne. The nobles, now in control of Alfonso and claiming that he was the true heir, clashed with King Henry's forces at the Second Battle of Olmedo in 1467. The battle was a draw. King Henry agreed to recognize Alfonso as his heir presumptive, provided that he would marry his daughter, Princess Joanna la Beltraneja. Soon after he was named Prince of Asturias, Isabella's younger brother Alfonso died in July 1468, likely of the plague. The nobles who had supported him suspected poisoning. As she had been named in her brother's will as his successor, the nobles asked Isabella to take his place as champion of the rebellion. However, support for the rebels had begun to wane, and Isabella preferred a negotiated settlement to continuing the war. She met with her elder half-brother Henry at Toros de Guisando and they reached a compromise: the war would stop, King Henry would name Isabella his heir-presumptive instead of his daughter Joanna, and Isabella would not marry without her half-brother's consent, but he would not be able to force her to marry against her will. Isabella's side came out with most of what the nobles desired, though they did not go so far as to officially depose King Henry; they were not powerful enough to do so, and Isabella did not want to jeopardize the principle of fair inherited succession, since it was upon this idea that she had based her argument for legitimacy as heir-presumptive.
Marriage
The question of Isabella's marriage was not a new one. She had, at the age of six, a betrothal to Ferdinand, the younger son of John II of Navarre (whose family was a cadet branch of the House of Trastámara). At that time, the two kings, Henry and John, were eager to show their mutual love and confidence and they believed that this alliance would make their eternal friendship obvious to the world. This arrangement, however, did not last long.
Ferdinand's uncle Alfonso V of Aragon died in 1458. All of Alfonso's Spanish territories, as well as the islands of Sicily and Sardinia, were left to his brother John II. John now had a stronger position than ever before and no longer needed the security of Henry's friendship. Henry was now in need of a new alliance. He saw the chance for this much-needed new friendship in Charles of Viana, John's elder son. Charles was constantly at odds with his father, and because of this, he secretly entered into an alliance with Henry IV of Castile. A major part of the alliance was that a marriage was to be arranged between Charles and Isabella. When John II learned of this arranged marriage, he was outraged. Isabella had been intended for his favourite younger son, Ferdinand, and in his eyes, this alliance was still valid. John II had his son Charles thrown in prison on charges of plotting against his father's life. Charles died in 1461.
In 1465, an attempt was made to marry Isabella to Afonso V of Portugal, Henry's brother-in-law. Through the medium of the Queen and Count of Ledesma, a Portuguese alliance was made. Isabella, however, was wary of the marriage and refused to consent.
A civil war broke out in Castile over King Henry's inability to act as sovereign. Henry now needed a quick way to please the rebels of the kingdom. As part of an agreement to restore peace, Isabella was then to be betrothed to Pedro Girón Acuña Pacheco, Master of the Order of Calatrava and brother to the King's favourite, Juan Pacheco. In return, Don Pedro would pay into the royal treasury an enormous sum of money. Seeing no alternative, Henry agreed to the marriage. Isabella was aghast and prayed to God that the marriage would not come to pass. Her prayers were answered when Don Pedro suddenly fell ill and died while on his way to meet his fiancée.
When Henry had recognized Isabella as his heir-presumptive on 19 September 1468, he had also promised that his half-sister should not be compelled to marry against her will, while she in return had agreed to obtain his consent. It seemed that the years of failed attempts at political marriages were finally over. There was talk of a marriage to Edward IV of England or to one of his brothers, probably Richard, Duke of Gloucester, but this alliance was never seriously considered. Once again in 1468, a marriage proposal arrived from Afonso V of Portugal. Going against his promises made in September, Henry tried to make the marriage a reality. If Isabella married Afonso, Henry's daughter Joanna would marry Afonso's son John II and thus, after the death of the old king, John and Joanna could inherit Portugal and Castile. Isabella refused and made a secret promise to marry her cousin and very first betrothed, Ferdinand of Aragon.
After this failed attempt, Henry once again went against his promises and tried to marry Isabella to Louis XI's brother Charles, Duke of Berry. In Henry's eyes, this alliance would cement the friendship of Castile and France as well as remove Isabella from Castilian affairs. However, Isabella once again refused the proposal. Meanwhile, John II of Aragon negotiated in secret with Isabella a wedding to his son Ferdinand.
On 18 October 1469, the formal betrothal took place. Because Isabella and Ferdinand were second cousins, they stood within the prohibited degrees of consanguinity and the marriage would not be legal unless a dispensation from the Pope was obtained. With the help of the Valencian Cardinal Rodrigo Borgia (later Alexander VI), Isabella and Ferdinand were presented with a supposed papal bull by Pius II (who had actually died in 1464), authorising Ferdinand to marry within the third degree of consanguinity, making their marriage legal. Afraid of opposition, Isabella eloped from the court of Henry with the excuse of visiting her brother Alfonso's tomb in Ávila. Ferdinand, on the other hand, crossed Castile in secret disguised as a servant. They married immediately upon reuniting on 19 October 1469 in the Palacio de los Vivero in the city of Valladolid.
War with Portugal
On 12 December 1474, news of King Henry IV's death in Madrid (which had happened on 11 December) reached Segovia. This prompted Isabella to take refuge within the walls of the Alcázar of Segovia, where she received the support of Andres de Cabrera and Segovia's council. The next day, Isabella was proclaimed Queen of Castile and León.
Isabella's reign got off to a rocky start. King Henry IV had named Isabella as his successor, so when she ascended to the throne in 1474, there were already several plots against her. Diego Pacheco, the Marquis of Villena, and his followers maintained that Joanna la Beltraneja, Henry's daughter, was the rightful queen. Shortly after the Marquis made his claim, a longtime supporter of Isabella, the Archbishop of Toledo, left court to plot with his great-nephew the Marquis. The Archbishop and Marquis made plans to have Joanna marry her uncle King Afonso V of Portugal and invade Castile to claim the throne for themselves.
In May 1475, King Afonso and his army crossed into Spain and advanced to Plasencia. Here he married the young Joanna. A long and bloody war for the Castilian succession then took place. The war went back and forth for almost a year, until the Battle of Toro on 1 March 1476, in which both sides claimed and celebrated victory: the troops of King Afonso V were beaten by the Castilian centre-left commanded by the Duke of Alba and Cardinal Mendoza while the forces led by John of Portugal defeated the Castilian right wing and remained in possession of the battlefield.
But despite its uncertain outcome, the Battle of Toro represented a great political victory for the Catholic Monarchs, assuring them the throne since the supporters of Joanna la Beltraneja disbanded and the Portuguese army, without allies, left Castile.
As summarised by the historian Justo L. González:
Both armies faced each other at the camps of Toro resulting in an indecisive battle. But while the Portuguese King reorganised his troops, Ferdinand sent news to all the cities of Castile and to several foreign kingdoms informing them about a huge victory where the Portuguese were crushed. Faced with these news, the party of "la Beltraneja" [Joanna] was dissolved and the Portuguese were forced to return to their kingdom.
With great political vision, Isabella took advantage of the moment and convoked courts at Madrigal-Segovia (April–October 1476) where her eldest child and daughter Isabella was first sworn as heiress to Castile's crown. That was equivalent to legitimising Isabella's own throne.
In August of the same year, Isabella proved her abilities as a powerful ruler on her own. A rebellion broke out in Segovia, and Isabella rode out to suppress it, as her husband Ferdinand was off fighting at the time. Going against the advice of her male advisors, Isabella rode by herself into the city to negotiate with the rebels. She was successful and the rebellion was quickly brought to an end. Two years later, Isabella further secured her place as ruler with the birth of her son John, Prince of Asturias, on 30 June 1478. To many, the presence of a male heir legitimised her place as ruler.
Meanwhile, the Castilian and Portuguese fleets fought for hegemony in the Atlantic Ocean and for the wealth of Guinea (gold and slaves), where the decisive naval Battle of Guinea was fought.
The war dragged on for another three years and ended with a Castilian victory on land and a Portuguese victory on the sea. The four separate peace treaties signed at Alcáçovas (4 September 1479) reflected that result: Portugal gave up the throne of Castile in favour of Isabella in exchange for a very favourable share of the Atlantic territories disputed with Castile (they all went to Portugal with the exception of the Canary Islands: Guinea with its mines of gold, Cape Verde, Madeira, Azores, and the right of conquest over the Kingdom of Fez) plus a large war compensation: 106.676 dobles of gold. The Catholic Monarchs also had to accept that Joanna la Beltraneja remain in Portugal instead of Spain and to pardon all rebellious subjects who had supported Joanna and King Afonso. And the Catholic Monarchswho had proclaimed themselves rulers of Portugal and donated lands to noblemen inside this countryhad to give up the Portuguese crown.
At Alcáçovas, Isabella and Ferdinand had conquered the throne, but the Portuguese exclusive right of navigation and commerce in all of the Atlantic Ocean south of the Canary Islands meant that Spain was practically blocked out of the Atlantic and was deprived of the gold of Guinea, which induced anger in Andalusia. Spanish academic Antonio Rumeu de Armas claims that with the peace treaty of Alcáçovas in 1479, the Catholic Monarchs "... buy the peace at an excessively expensive price ..." and historian Mª Monserrat León Guerrero added that they "... find themselves forced to abandon their expansion by the Atlantic ...".
Christopher Columbus freed Castile from this difficult situation, because his New World discovery led to a new and much more balanced sharing of the Atlantic at Tordesillas in 1494. As the orders received by Columbus in his first voyage (1492) show: "[the Catholic Monarchs] have always in mind that the limits signed in the share of Alcáçovas should not be overcome, and thus they insist with Columbus to sail along the parallel of Canary." Thus, by sponsoring the Columbian adventure to the west, the Spanish monarchs were trying the only remaining path of expansion. As is now known, they would be extremely successful on this issue. Isabella had proven herself to be a fighter and tough monarch from the start. Now that she had succeeded in securing her place on the Castilian throne, she could begin to institute the reforms that the kingdom desperately needed.
Reform
Regulation of crime
When Isabella came to the throne in 1474, Castile was in a state of despair due to her brother Henry's reign. It was known that Henry IV was a big spender and did little to enforce the laws of his kingdom. It was even said by one Castilian denizen of the time that murder, rape, and robbery happened without punishment. Because of this, Isabella needed desperately to find a way to reform her kingdom. Due to the measures she imposed, historians during her lifetime saw her to be more inclined to justice than to mercy, and indeed far more rigorous and unforgiving than her husband Ferdinand.
La Santa Hermandad
Isabella's first major reform came during the cortes of Madrigal in 1476 in the form of a police force, La Santa Hermandad (the Holy Brotherhood). Although 1476 was not the first time that Castile had seen the Hermandad, it was the first time that the police force was used by the crown. During the late medieval period, the expression hermandad had been used to describe groups of men who came together of their own accord to regulate law and order by patrolling the roads and countryside and punishing malefactors. These brotherhoods had usually been suppressed by the monarch, however.
Furthermore, before 1476, the justice system in most parts of the country was effectively under the control of dissident members of the nobility rather than royal officials. To fix this problem, during 1476, a general Hermandad was established for Castile, Leon, and Asturias. The police force was to be made up of locals who were to regulate the crime occurring in the kingdom. It was to be paid for by a tax of 1800 maravedís on every one hundred households. In 1477, Isabella visited Extremadura and Andalusia to introduce this more efficient police force there as well.
Other criminal reforms
Keeping with her reformation of the regulation of laws, in 1481 Isabella charged two officials with restoring peace in Galicia. This turbulent province had been the prey of tyrant nobles since the days of Isabella's father, John II. Robbers had infested the highways and oppressed the smaller towns and villages. The officials Isabella charged set off with the Herculean task of restoring peace for the province and were ultimately successful. Indeed, they drove over 1,500 robbers from Galicia.
Finances
From the very beginning of her reign, Isabella fully grasped the importance of restoring the Crown's finances. The reign of Henry IV had left the kingdom of Castile in great debt. Upon examination, it was found that the chief cause of the nation's poverty was the wholesale alienation of royal estates during Henry's reign. To make money, Henry had sold off royal estates at prices well below their value. The Cortes of Toledo of 1480 came to the conclusion that the only hope of lasting financial reform lay in a resumption of these alienated lands and rents. This decision was warmly approved by many leading nobles of the court, but Isabella was reluctant to take such drastic measures. It was decided that the Cardinal of Spain would hold an enquiry into the tenure of estates and rents acquired during Henry IV's reign. Those that had not been granted as a reward for services were to be restored without compensation, while those that had been sold at a price far below their real value were to be bought back at the same sum. While many of the nobility were forced to pay large sums of money for their estates, the royal treasury became even richer. Isabella's one stipulation was that there would be no revocation of gifts made to churches, hospitals, or the poor.
Another issue of money was the overproduction of coinage and the abundance of mints in the kingdom. During Henry's reign, the number of mints regularly producing money had increased from just five to 150. Much of the coinage produced in these mints was nearly worthless. During the first year of her reign, Isabella established a monopoly over the royal mints and fixed a legal standard to which the coinage had to approximate. By shutting down many of the mints and taking royal control over the production of money, Isabella restored the confidence of the public in the Crown's ability to handle the kingdom's finances.
Government
Both Isabella and Ferdinand established very few new governmental and administrative institutions in their respective kingdoms. Especially in Castile, their main achievement was to use more effectively the institutions that had existed during the reigns of John II and Henry IV. Historically, the center of the Castilian government had been the royal household, together with its surrounding court. The household was traditionally divided into two overlapping bodies. The first body was made up of household officials, mainly people of the nobility, who carried out governmental and political functions for which they received special payment. The second body was made up of some 200 permanent servants or continos who performed a wide range of confidential functions on behalf of the rulers. By the 1470s, when Isabella began to take a firm grip on the royal administration, the senior offices of the royal household were simply honorary titles and held strictly by the nobility. The positions of a more secretarial nature were often held by senior churchmen. Substantial revenues were attached to such offices and were therefore enjoyed greatly, on an effectively hereditary basis, by the great Castilian houses of nobility. While the nobles held the titles, individuals of lesser breeding did the real work.
Traditionally, the main advisory body to the rulers of Castile was the Royal Council. The council, under the monarch, had full power to resolve all legal and political disputes. The council was responsible for supervising all senior administrative officials, such as the Crown representatives in all of the major towns. It was also the supreme judicial tribunal of the kingdom. In 1480, during the Cortes of Toledo, Isabella made many reforms to the Royal Council. Previously there had been two distinct yet overlapping categories of royal councillor. One formed a group which possessed both judicial and administrative responsibilities. This portion consisted of some bishops, some nobles, and an increasingly important element of professional administrators with legal training known as letrados. The second category of traditional councillor had a less formal role. This role depended greatly on the individuals' political influence and personal influence with the monarch. During Isabella's reign, the role of this second category was completely eliminated. As mentioned previously, Isabella had little care for personal bribes or favours. Because of this, this second type of councillor, usually of the nobility, was only allowed to attend the council of Castile as an observer.
Isabella began to rely more on the professional administrators than ever before. These men were mostly of the bourgeoisie or lesser nobility. The council was also rearranged and it was officially settled that one bishop, three caballeros, and eight or nine lawyers would serve on the council at a time. While the nobles were no longer directly involved in the matters of state, they were welcome to attend the meetings. Isabella hoped by forcing the nobility to choose whether to participate or not would weed out those who were not dedicated to the state and its cause.
Isabella also saw the need to provide a personal relationship between herself as the monarch and her subjects. Therefore, Isabella and Ferdinand set aside a time every Friday during which they themselves would sit and allow people to come to them with complaints. This was a new form of personal justice that Castile had not seen before. The Council of State was reformed and presided over by the King and Queen. This department of public affairs dealt mainly with foreign negotiations, hearing embassies, and transacting business with the Court of Rome. In addition to these departments, there was also a Supreme Court of the Santa Hermandad, a Council of Finance, and a Council for settling purely Aragonese matters. Although Isabella made many reforms that seem to have made the Cortes stronger, in actuality the Cortes lost political power during the reigns of Isabella and Ferdinand. Isabella and her husband moved in the direction of a non-parliamentary government and the Cortes became an almost passive advisory body, giving automatic assent to legislation which had been drafted by the royal administration.
After the reforms of the Cortes of Toledo, the Queen ordered a noted jurist, Alfonso Diaz de Montalvo, to undertake the task of clearing away legal rubbish and compiling what remained into a comprehensive code. Within four years the work stood completed in eight bulky volumes and the Ordenanzas Reales took their place on legal bookshelves.
Events of 1492
Granada
At the end of the Reconquista, only Granada was left for Isabella and Ferdinand to conquer. The Emirate of Granada had been held by the Muslim Nasrid dynasty since the mid-13th century. Protected by natural barriers and fortified towns, it had withstood the long process of the reconquista. On 1 February 1482, the king and queen reached Medina del Campo and this is generally considered the beginning of the war for Granada. While Isabella's and Ferdinand's involvement in the war was apparent from the start, Granada's leadership was divided and never able to present a united front. It still took ten years to conquer Granada, however, culminating in 1492.
The Spanish monarchs recruited soldiers from many European countries and improved their artillery with the latest and best cannon. Systematically, they proceeded to take the kingdom piece by piece. In 1485 they laid siege to Ronda, which surrendered after only a fortnight due to extensive bombardment. The following year, Loja was taken, and again Muhammad XII was captured and released. One year later, with the fall of Málaga, the western part of the Muslim Nasrid kingdom had fallen into Spanish hands. The eastern province succumbed after the fall of Baza in 1489. The siege of Granada began in the spring of 1491 and Muhammad XII finally surrendered at the end of the year. On 2 January 1492, Isabella and Ferdinand entered Granada to receive the keys of the city and the principal mosque was reconsecrated as a church. The Treaty of Granada was signed later that year; in it, Ferdinand and Isabella gave their word to allow the Muslims and Jews of Granada to live in peace.
During the war, Isabella noted the abilities and energy of Gonzalo Fernández de Córdoba and made him one of the two commissioners for the negotiations. Under her patronage, De Córdoba went on to an extraordinary military career that revolutionised the organisation and tactics of the emerging Spanish military, changing the nature of warfare and altering the European balance of power.
Columbus and Portuguese relations
Just three months after entering Granada, Queen Isabella agreed to sponsor Christopher Columbus on an expedition to reach the East Indies by sailing west (for a distance of 2000 miles, according to Columbus). The crown agreed to pay a sum of money as a concession from monarch to subject.
Columbus's expedition departed on 3 August 1492, and arrived in the New World on 12 October. He returned the next year and presented his findings to the monarchs, bringing natives and gold under a hero's welcome. Although Columbus was sponsored by the Castilian queen, treasury accounts show no royal payments to him until 1493, after his first voyage was complete. Spain then entered a Golden Age of exploration and colonisation—the period of the Spanish Empire. In 1494, by the Treaty of Tordesillas, Isabella and Ferdinand agreed to divide the Earth, outside of Europe, with King John II of Portugal. The Portuguese did not recognize that South America belonged to the Spanish because it was in Portugal's sphere of influence, and King John II threatened to send an army to claim the land for the Portuguese.
Position on slavery
Isabella was not in favor of enslaving the American natives. She established the royal position on how the indigenous people should be treated by following the recent policies implemented in the Canary Islands (which had a small amount of native inhabitants), which stated that all peoples were subjects of the Crown of Castile, and could not be enslaved in most situations. There were some circumstances in which a person could be enslaved, including being a prisoner of war, or for practicing cannibalism or sodomy.
After an episode in which Columbus captured 1,200 men, Isabella ordered their return and the arrest of Columbus, who was insulted in the streets of Granada. Isabella realized that she could not trust all the conquest and evangelization to take place through one man, so she opened the range for other expeditions led by Alonso de Hojeda, Juan de la Cosa, Vicente Yáñez Pinzón, or Pedro Alonso Niño.
To prevent her efforts from being reversed in the future, Isabella instructed her descendants in her last will as follows: "do not give rise to or allow the Indians [indigenous Americans] to receive any wrong in their persons and property, but rather that they be treated well and fairly, and if they have received any wrong, remedy it."
Expulsion of the Jews
With the institution of the Roman Catholic Inquisition in Spain, and with the Dominican friar Tomás de Torquemada as the first Inquisitor General, the Catholic Monarchs pursued a policy of religious and national unity. Though Isabella opposed taking harsh measures against Jews on economic grounds, Torquemada was able to convince Ferdinand. On 31 March 1492, the Alhambra decree for the expulsion of the Jews was issued. The Jews had until the end of July, four months, to leave the country and they were not to take with them gold, silver, money, arms, or horses. Traditionally, it had been claimed that as many as 200,000 Jews left Spain, but recent historians have shown that such figures are exaggerated: Henry Kamen has shown that out of a total population of 80,000 Jews, a maximum of 40,000 left and the rest converted. Hundreds of those that remained came under the Inquisition's investigations into relapsed conversos (Marranos) and the Judaizers who had been abetting them.
Later years
Isabella was given the title of Catholic Monarch by Pope Alexander VI, whose behavior and involvement in matters Isabella did not approve of. Along with the physical unification of Spain, Isabella and Ferdinand embarked on a process of spiritual unification, trying to bring the country under one faith (Roman Catholicism). As part of this process, the Inquisition became institutionalised. After a Muslim uprising in 1499, and further troubles thereafter, the Treaty of Granada was broken in 1502, and Muslims were ordered to either become Christians or to leave. Isabella's confessor, Cisneros, was named Archbishop of Toledo. He was instrumental in a program of rehabilitation of the religious institutions of Spain, laying the groundwork for the later Counter-Reformation. As Chancellor, he exerted more and more power.
Isabella and her husband had created an empire and in later years were consumed with administration and politics; they were concerned with the succession and worked to link the Spanish crown to the other rulers in Europe. By early 1497, all the pieces seemed to be in place: The son and heir John, Prince of Asturias, married a Habsburg princess, Margaret of Austria, establishing the connection to the Habsburgs. The eldest daughter, Isabella of Aragon, married King Manuel I of Portugal, and the younger daughter, Joanna of Castile, was married to a Habsburg prince, Philip I of Habsburg. In 1500, Isabella granted all non-rebellious natives in the colonies citizenship and full legal freedom by decree.
However, Isabella's plans for her eldest two children did not work out. Her only son, John of Asturias, died shortly after his marriage. Her daughter, Isabella of Aragon, died during the birth of her son, Miguel da Paz, who died shortly after, at the age of two. Queen Isabella I's crowns passed to her third child, Joanna, and her son-in-law, Philip I.
Isabella did, however, make successful dynastic matches for her two youngest daughters. The death of Isabella of Aragon created a necessity for Manuel I of Portugal to remarry, and Isabella's third daughter, Maria of Aragon, became his next bride. Isabella's youngest daughter, Catherine of Aragon, married England's Arthur, Prince of Wales, but his early death resulted in her being married to his younger brother, King Henry VIII of England.
Isabella officially withdrew from governmental affairs on 14 September 1504 and she died that same year on 26 November at the Medina del Campo Royal Palace. She had already been in decline since the deaths of her son Prince John of Asturias in 1497, her mother Isabella of Portugal in 1496, and her daughter Princess Isabella of Asturias in 1498. She is entombed in Granada in the Capilla Real, which was built by her grandson, Charles V, Holy Roman Emperor (Carlos I of Spain), alongside her husband Ferdinand, her daughter Joanna and Joanna's husband Philip I; and Isabella's 2-year-old grandson, Miguel da Paz (the son of Isabella's daughter, also named Isabella, and King Manuel I of Portugal). The museum next to the Capilla Real holds her crown and scepter.
Appearance and personality
Isabella was short but of strong stocky build, of a very fair complexion, and had a hair color that was between strawberry-blonde and auburn. Other descriptions, however, describe her hair as golden (blonde), and period illuminations show her several times with golden or strawberry blond hair.
Some portraits show her as a brunette. That is due to a phenomenon occurring in old portraits, which often causes hair pigments to go dark brown. Many portraits from the 15th and 16th centuries are a victim of it. However, the statue of her in Granada Cathedral, by Burgundian sculptor Philippe de Vigarny (born in Langres, in what is now France), also shows her as a dark-haired brunette.
Her daughters, Joanna and Catherine, were thought to resemble her the most in looks.
Isabella maintained an austere, temperate lifestyle, and her religious spirit influenced her the most in life. In spite of her hostility towards the Muslims in Andalusia, Isabella developed a taste for Moorish decor and style.
Isabella's contemporaries described her as follows:
Gonzalo Fernández de Oviedo y Valdés: "To see her speak was divine."
: "She was an endeavored woman, very powerful, very prudent, wise, very honest, chaste, devout, discreet, truthful, clear, without deceit. Who could count the excellences of this very Catholic and happy Queen, always very worthy of praises."
Hernando del Pulgar: "She was very inclined to justice, so much so that she was reputed to follow more the path of rigor than that of mercy, and did so to remedy the great corruption of crimes that she found in the kingdom when she succeeded to the throne."
: "[The royal knight Álvaro Yáñez de Lugo] was condemned to be beheaded, although he offered forty thousand ducados for the war against the Moors to the court so that these monies spare his life. This matter was discussed with the queen, and there were some who told her to pardon him, since these funds for the war were better than the death of that man, and her highness should take them. But the queen, preferring justice to cash, very prudently refused them; and although she could have confiscated all his goods, which were many, she did not take any of them to avoid any note of greed, or that it be thought that she had not wished to pardon him in order to have his goods; instead, she gave them all to the children of the aforesaid knight."
Ferdinand, in his testament, declared that "she was exemplary in all acts of virtue and of fear of God."
Fray Francisco Jiménez de Cisneros, her confessor and the Grand Inquisitor, praised "her purity of heart, her big heart and the grandness of her soul".
Family
Isabella and Ferdinand had seven children, five of whom survived to adulthood:
Isabella (1470–1498) married firstly to Afonso, Prince of Portugal, no issue. Married secondly to Manuel I of Portugal, had Miguel da Paz, who died before his second birthday.
A son, miscarried on 31 May 1475 in Cebreros
John (1478–1497), Prince of Asturias. Married Archduchess Margaret of Austria, no surviving issue.
Joanna (1479–1555), Queen of Castile. Married Philip the Handsome, had issue.
Maria (1482–1517), married Manuel I of Portugal, her sister's widower, had issue.
A daughter, stillborn twin sister of Maria. Born on 1 July 1482 at dawn.
Catherine (1485–1536), married firstly to Arthur, Prince of Wales, no issue. Married his younger brother, Henry VIII of England, had Henry, Duke of Cornwall and Mary I of England.
Cause of beatification and canonization
In 1958, José García Goldaraz, the Bishop of Valladolid where she died in 1504, started the canonical Catholic process of the Cause of Beatification and Canonization of Isabella. 17 experts were appointed to investigate more than 100,000 documents in the archives of Spain and the Vatican and the merits of opening a canonical process of canonization. 3,500 of these were chosen to be included in 27 volumes.
In 1970, that Commission determined that "A Canonical process for the canonization of Isabella the Catholic could be undertaken with a sense of security since there was not found one single act, public or private, of Queen Isabella that was not inspired by Christian and evangelical criteria; moreover there was a 'reputation of sanctity' uninterrupted for five centuries and as the investigation was progressing, it was more accentuated."
In 1972, the Process of Valladolid was officially submitted to the Congregation for the Causes of Saints in the Vatican. This process was approved and Isabel was given the title "Servant of God" in March 1974. The cause was initially stopped in 1991, one year before the commemoration of the fifth centenary of the discovery of the New World, due to her expulsion of the Jews. In April 2020, Cardinal Cañizares confirmed that Pope Francis had requested that Spanish bishops reopen Isabella's cause for canonization.
Some authors have claimed that Isabella's reputation for sanctity derives in large measure from an image carefully shaped and disseminated by the queen herself.
Arms
As Princess of Asturias, Isabella bore the undifferenced royal arms of the Crown of Castile and added the Saint John the Evangelist's Eagle, an eagle displayed as single supporter. As queen, she quartered the Royal Arms of the Crown of Castile with the Royal Arms of the Crown of Aragon, she and Ferdinand II of Aragon adopted a yoke and a bundle of arrows as heraldic badges. As co-monarchs, Isabella and Ferdinand used the motto "Tanto Monta" ("They amount to the same", or "Equal opposites in balance"), which refers to their prenuptial agreement. The conquest of Granada in 1492 was symbolised by the addition enté en point of a quarter with a pomegranate for Granada (in Spanish, Granada means pomegranate). There was an uncommon variant with the Saint John the Evangelist's eagle and two lions adopted as Castilian royal supporters by John II, Isabella's father.
Legacy
Isabella is most remembered for enabling Columbus' voyage to the New World, which ushered in an era of great wealth for Spain and Europe. Her reign saw the founding of the Spanish Empire, which in turn ultimately led to establishment of the modern nations of the Americas.
She and her husband completed the Reconquista, driving out the most significant Muslim influence in Western Europe and firmly establishing Spain and the Iberian peninsula as staunchly Catholic. Her reign also established the Spanish Inquisition.
Commemoration
The Spanish crown created the Order of Isabella the Catholic in 1815 in honor of the queen.
Isabella was the first woman to be featured on US postage stamps, namely on three stamps of the Columbian Issue, also in celebration of Columbus. She appears in the 'Columbus soliciting aid of Isabella', 5-cent issue, and on the Spanish court scene replicated on the 15-cent Columbian, and on the $4 issue, in full portrait, side by side with Columbus.
The $4 stamp is the only stamp of that denomination ever issued and one which collectors prize not only for its rarity (only 30,000 were printed) but its beauty, an exquisite carmine with some copies having a crimson hue. Mint specimens of this commemorative have been sold for more than $20,000.
Isabella was also the first named woman to appear on a United States coin, the 1893 commemorative Isabella quarter, celebrating the 400th anniversary of Columbus's first voyage.
Ancestry
Notes
References
Further reading
Boruchoff, David A. Isabel la Católica, Queen of Castile: Critical Essays. New York: Palgrave Macmillan, 2003.
, Bailey W. and Winius, George D. (1977) Foundations of the Portuguese Empire, 1415–1580, Volume 1, University of Minnesota Press.
Downey, Kirsten "Isabella, The Warrior Queen,". New York, Anchor Books, Penguin, 2014.
, Edmondo Michael (1992) Medieval Iberia: An Encyclopedia, Taylor & Francis.
Edwards, John. The Spain of the Catholic Monarchs, 1474–1520. Oxford: Blackwell 2000.
Hillgarth, J.N. The Spanish Kingdoms, 1250–1516. Castilian hegemony. Oxford 1978.
Hunt, Joceyln (2001) Spain, 1474–1598. Routledge, 1st Ed.
Kamen, Henry. The Spanish Inquisition: a historical revision (Yale University Press, 2014)
Liss, Peggy K. (1992) Isabel the Queen. New York: Oxford University Press;
, Marvin (1970) "The council of the Santa Hermandad: a study of the pacification forces of Ferdinand and Isabella", University of Miami Press.
Miller, Townsend Miller (1963) The Castles and the Crown: Spain 1451–1555. New York: Coward-McCann
Prescott, William H. (1838). History of the Reig of Ferdinand and Isabella.
Roth, Norman (1995) Conversos, Inquisition, and the Expulsion of the Jews from Spain. (Madison: The University of Wisconsin Press)
Stuart, Nancy Rubin. Isabella of Castile: the First Renaissance Queen (New York: St. Martin's Press, 1991)
Tremlett, Giles. '"Isabella of Castile. Europe's First Great Queen"' (London: Bloomsbury, 2017)
Tremlett, Giles. "Catherine of Aragon. Henry's Spanish Queen" (London: Faber and Faber, 2010)
Weissberger, Barbara F. Queen Isabel I of Castile: Power, Patronage, Persona (2008)
Weissberger, Barbara F. Isabel Rules: Constructing Queenship, Wielding Power (2003)
In Spanish and Portuguese
Books
, Antonio Rumeu (1992) El tratado de Tordesillas. Madrid: Colecciones MAPFRE 1492, book description.
Azcona, Tarsicio de. Isabel la Católica. Estudio crítico de su vida y su reinado. Madrid 1964.
, Joseph-Louis Ripault (1758) Abrégé chronologique de l'histoire de l'Éspagne, Duchesne, Paris, 3rd Tome.
, Jean (1993) La "imcomparable" Isabel la Catolica (The "incomparable" Isabella, the Catholic), Madrid: Encuentro Editiones, printed by Rogar-Fuenlabrada (Spanish edition).
, Justo L. (1994) Historia del Cristianismo, Miami: Editorial Unilit, Tome 2.
, Mª Monserrat León (2002) El segundo viaje colombino, Alicante: Biblioteca Virtual Miguel de Cervantes.
Ladero Quesada, Miguel Angel. La España de los Reyes Católicos, Madrid 1999.
, Ana Isabel Carrasco (2006) Isabel I de Castilla y la sombra de la ilegitimidad. Propaganda y representación en el conflicto sucesorio (1474–1482), Madrid: Sílex ediciones.
, Manuela (2007) O Sonho da União Ibérica – guerra Luso-Castelhana 1475/1479, Lisboa: Quidnovi, book description.
Pereira, Isabel Violante (2001) De Mendo da Guarda a D. Manuel I. Lisboa: Livros Horizonte
Perez, Joseph. Isabel y Fernando. Los Reyes Católicos. Madrid 1988.
Suárez Fernández, L. and M. Fernández (1969) La España de los reyes Católicos (1474–1516).
Articles
, Antonio Ballesteros (1941) Fernando el Católico, in Ejército revue, Ministerio del Ejercito, Madrid, nr 16, p. 54–66, May 1941.
, Rafael Dominguez (1990) San Juan de los reyes: espacio funerário y aposento régio – in Boletín del Seminário de Estúdios de Arte y Arqueologia, number 56, p. 364–383, University of Valladolid.
, Cesáreo Fernández (1901) La batalla de Toro (1476). Datos y documentos para su monografía histórica, Madrid: Boletín de la Real Academia de la Historia, tomo 38.
,Vicente Ángel Alvarez (2006) La guerra civil castellana y el enfrentamiento con Portugal (1475–1479), Universidad de Alicante, Biblioteca Virtual Miguel de Cervantes.
, Miguel-Ángel Ladero (2000) Portugueses en la frontera de Granada, Revista En la España medieval, Universidad Complutense, nr. 23, pages 67–100.
, António Macia- San Juan de los Reyes y la batalla de Toro, revista Toletum, segunda época, 1979 (9), pp. 55–70. Toledo: Real Academia de Bellas Artes y Ciencias Históricas de Toledo. ISSN: 0210-6310
Chronicles
, Damião de (1724) Chronica do Principe D. Joam, edited by Lisboa occidental at the officina da Música, Lisboa (Biblioteca Nacional Digital).
, Juan de (1839) Historia General de España, tome V Barcelona: printing press of D. Francisco Oliva.
, Alfonso de – Gesta Hispaniensia ex annalibus suorum diebus colligentis, Década III [https://books.google.com/books?id=-1A3cWT_1kAC&pg=PA93&lpg=PA93&dq=%22Alonso+de+Palencia+decada+cuarta+naves+castellanas%22&source=bl&ots=kdDs0IZIC2&sig=1GhLLlK7uT95iMhwkS2KqoLeBJQ&hl=pt-PT&ei=zGpZTbrYFIKAhQf-9YyDDQ&sa=X&oi=book_result&ct=result&resnum=1&ved and IV] (the three first Décadas were edited as Cronica del rey Enrique IV by Antonio Paz y Meliá in 1904 and the fourth as Cuarta Década by José Lopes de Toro in 1970).
, Ruy de (1902) Chronica de El- rei D. Affonso V, Project Gutenberg Ebook, Biblioteca de Clássicos Portugueses, 3rd book, Lisboa.
, Hernando del (1780) Crónica de los Señores Reyes Católicos Don Fernando y Doña Isabel de Castilla y de Aragón, (Biblioteca Virtual Miguel de Cervantes), Valencia: edited by Benito Monfort.
, Garcia de – Vida e feitos d'El Rei D.João II electronic version, wikisource.
External links
Isabella I in the Catholic Encyclopedia
Medieval Sourcebook: Columbus' letter to King and Queen of Spain, 1494
Music at Isabella's court
University of Hull: Genealogy information on Isabella I
El obispo judío que bloquea a la "santa". A report in Spanish about the beatification in El Mundo
Isabella I of Castile – Facts (Video) | Check123 – Video Encyclopedia
1451 births
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House of Trastámara
Majorcan queens consort
People from the Province of Ávila
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Queens regnant
Order of Isabella the Catholic
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Spanish Renaissance people
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Spanish exploration in the Age of Discovery
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"Everything Will Work Out Right is the debut album by Canadian singer and songwriter Morgan Finlay. It was released in 2005.\n\nTrack listing\n \"Inside\"\n \"Zensong\"\n \"The Reason Why\"\n \"The Way It Is\"\n \"Wait in Measures\"\n \"Flow\"\n \"Everything Will Work Out Right\"\n \"514\"\n \"Why Georgia\"\n \"In a Perfect World\"\n \"Far Beyond Words\"\n \"Seattle\"\n\nReferences\n\n2005 albums",
"Manasam is a 1997 Indian Malayalam film directed by CS Sudheesh and starring Dileep and Srividya in the lead roles.\n\nPlot\nSoloman who has lost his parents in a car accident. Soloman got mental depression . After recover, his brother didnt take him back. Rajalakshmi leads a lonely life. She adopts Solomon as her Son. Solomon tries to help Rajalakshmi solve several problems that come her way.One day, Maya visits Rajalakshmi house. She is Menon's granddaughter. Rajalakshmi memories about her childhood that Maya got her childhood face and Soloman got Appu's Face. Appu and Rajalakshmi love each other. Appu is art culture worker. Rajalakshmi's father hurt him as his father (Kunjiraman) is a worker of Rajalakshmi's father. Sudhakaran is Rajalakshmi's cousin. He want to marry Rajalakshmi. Sudhkaran learn about Appu and Rajalakshmi affair. He beat Kunjiraman to find out Appu. Kunjiraman attempt suicide. Rajalakshmi ready to marry Sudhakaran. Jayadevan visit Menon to see his mother Rajalakshmi. Rajalakshmi requested Menon don't let Jayadevan to stay in Menon's House. But Menon rejected as Jayadevan is her son . Rajalakshmi learnt that her mother passed away. She informed Menon to take Jayadevan for his Grandmother's funeral. Jayadevan visited Rajalakshmi, but she rejected. She is afraid whether Jayadevan will attack Soloman. Kichamani told to Menon about Soloman and Maya affair. Menon didn't like their relationship. Menon ready to marry Maya with Jayadevan. But Jayadevan told Menon about his blood Cancer. Solomon Visit Maya, but Menon beat him . Jayadevan Supports Soloman. Some goons attack Soloman. Rajalakshmi blamed Jayadevan as he attack Soloman. Menon called Rajalakshmi as Maya is Missing. Menon doubt's Soloman. Soloman learnt that Maya is with Rajamma's house. Menon accept Soloman and Maya relation. Rajalakshmi remember about her past when Appu visited Rajalakshmi. Appu told her he got a job in a town. He is ready to marry Rajalakshmi, but she told she married with Sudhakaran. Sudhakaran sees Appu and killed him. Sudhakaran sentenced to death. Rajalakshmi tried to kill Jayadevan as his father killed Appu. But Jayadevan already died and Rajalakshmi learnt about his blood Cancer and cries. She was admitted to Mental asylum. When Soloman and Maya visit Rajalakshmi, she didnt recognize them.\n\nCast\nSrividya as Rajalakshmi\nDileep as Solomon / Appu (Dual Role)\nKaveri as Maya / Rajalakshmi (Dual Role)\nJagathy Sreekumar as Kichamani\nBiju Menon as Jayadevan / Sudhakaran (Dual Role)\nNedumudi Venu as Balakrishnan Menon \n M. S. Thripunithura as Rajalakshmi's Father\nPonnamma Babu as Rajalakshmi's Mother\n Priyanka\tas \tRajamma\nRisabava as Doctor\n Franlee\n Yadhukrishnan\n\nReferences\n\nExternal links\n\n1997 films\nIndian films\n1990s Malayalam-language films"
] |
[
"Isabella I of Castile",
"Later years",
"Was she married?",
"Isabella and her husband had created an empire",
"Where was the empire located?",
"I don't know.",
"Do they have any kids?",
"Isabella's plans for her eldest two children did not work out.",
"Why didnt it work out?",
"Her only son, John of Asturias, died shortly after his marriage. Her daughter Isabella of Aragon, whose son Miguel da Paz died at the age of two, died in childbirth."
] |
C_e1811598f88846ebb7f7eeb9b4683533_0
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Who ended up taking over?
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Who ended up taking over for Isabella I of Castile?
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Isabella I of Castile
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Isabella received the title of Catholic Monarch by Pope Alexander VI, a pope of whose behavior and involvement in matters Isabella did not approve. Along with the physical unification of Spain, Isabella and Ferdinand embarked on a process of spiritual unification, trying to bring the country under one faith (Roman Catholicism). As part of this process, the Inquisition became institutionalised. After a Muslim uprising in 1499, and further troubles thereafter, the Treaty of Granada was broken in 1502, and Muslims were ordered to either become Christians or to leave. Isabella's confessor, Cisneros, was named Archbishop of Toledo. He was instrumental in a program of rehabilitation of the religious institutions of Spain, laying the groundwork for the later Counter-Reformation. As Chancellor, he exerted more and more power. Isabella and her husband had created an empire and in later years were consumed with administration and politics; they were concerned with the succession and worked to link the Spanish crown to the other rulers in Europe. By early 1497, all the pieces seemed to be in place: The son and heir John, Prince of Asturias, married a Habsburg princess, Margaret of Austria, establishing the connection to the Habsburgs. The eldest daughter, Isabella of Aragon, married King Manuel I of Portugal, and the younger daughter, Joanna of Castile, was married to a Habsburg prince, Philip I of Habsburg. However, Isabella's plans for her eldest two children did not work out. Her only son, John of Asturias, died shortly after his marriage. Her daughter Isabella of Aragon, whose son Miguel da Paz died at the age of two, died in childbirth. Queen Isabella I's crowns passed to her third child Joanna and her son-in-law, Philip I. Isabella did, however, make successful dynastic matches for her three youngest daughters. The death of Isabella of Aragon created a necessity for Manuel I of Portugal to remarry, and Isabella's third daughter, Maria of Aragon, became his next bride. Isabella's youngest daughter, Catherine of Aragon, married England's Arthur, Prince of Wales, but his early death resulted in her being married to his younger brother, King Henry VIII of England. Isabella officially withdrew from governmental affairs on September 14, 1504 and she died that same year on 26 November at the Medina del Campo Royal Palace. It is said that she had truly already been in decline since the death of her son Prince John of Asturias in 1497. She is entombed in Granada in the Capilla Real, which was built by her grandson, Charles V, Holy Roman Emperor (Carlos I of Spain), alongside her husband Ferdinand, her daughter Joanna and Joanna's husband Philip I; and Isabella's 2-year-old grandson, Miguel da Paz (the son of Isabella's daughter, also named Isabella, and King Manuel I of Portugal). The museum next to the Capilla Real holds her crown and scepter. CANNOTANSWER
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Queen Isabella I's crowns passed to her third child Joanna and her son-in-law, Philip I.
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Isabella I (, 22 April 1451 – 26 November 1504) was Queen of Castile from 1474 until her death in 1504, reigning over a dynastically unified Spain together with her husband, King Ferdinand II of Aragon. She was Queen of Aragon after Ferdinand II ascended to that throne in 1479. Together, Isabella and Ferdinand are known as the Catholic Monarchs.
After a struggle to claim the throne, Isabella reorganized the governmental system, brought the crime rate to the lowest it had been in years, and unburdened the kingdom of the enormous debt her half-brother King Henry IV had left behind. Isabella's marriage to Ferdinand in 1469 created the basis of the de facto unification of Spain. Her reforms and those she made with her husband had an influence that extended well beyond the borders of their united kingdoms.
Isabella I of Castile and Ferdinand II of Aragon are known for being the first monarchs to be referred to as "Queen of Spain" and "King of Spain" respectively, labeled such for completing the Reconquista, for issuing the Alhambra Decree which ordered the mass expulsion of Jews and Muslims from Spain, for establishing the Spanish Inquisition, for supporting and financing Christopher Columbus's 1492 voyage that led to the discovery of the New World by Europeans and established the Spanish empire, for making Spain a major power in Europe and much of the world, and for ushering in the Spanish Golden Age. Isabella was granted, together with her husband, the title of "Catholic monarch" by Pope Alexander VI, and was recognized in 1974 as a servant of God by the Catholic Church.
Life
Early years
Isabella was born in Madrigal de las Altas Torres, Ávila, to John II of Castile and his second wife, Isabella of Portugal, on 22 April 1451. At the time of Isabella's birth, she was second in line to the throne after her older half-brother Henry IV of Castile. Henry was 26 at that time and married, but childless. Isabella's younger brother Alfonso of Castile was born two years later on 17 November 1453, lowering her position to third in line. When her father died in 1454, her half-brother ascended to the throne as King Henry IV of Castile. Isabella and her brother Alfonso were left in King Henry's care. Isabella, her mother, and Alfonso then moved to Arévalo.
These were times of turmoil for Isabella. The living conditions at their castle in Arévalo were poor, and they suffered from a shortage of money. Although her father arranged in his will for his children to be financially well taken care of, King Henry did not comply with their father's wishes, either from a desire to keep his half-siblings restricted or from ineptitude. Even though her living conditions were difficult, Isabella was instructed in lessons of practical piety and in a deep reverence for religion under the supervision of her mother.
When the King's wife, Joan of Portugal, was about to give birth to their daughter Joanna, Isabella and her brother Alfonso were summoned to court in Segovia to come under the direct supervision of the King and to finish their education. Alfonso was placed in the care of a tutor while Isabella became part of the Queen's household.
Some of Isabella's living conditions improved in Segovia. She always had food and clothing and lived in a castle that was adorned with gold and silver. Isabella's basic education consisted of reading, spelling, writing, grammar, history, mathematics, art, chess, dancing, embroidery, music, and religious instruction. She and her ladies-in-waiting entertained themselves with art, embroidery, and music. She lived a relaxed lifestyle, but she rarely left Segovia since King Henry forbade this. Her half-brother was keeping her from the political turmoil going on in the kingdom, though Isabella had full knowledge of what was going on and of her role in the feuds.
The noblemen, anxious for power, confronted King Henry, demanding that his younger half-brother Alfonso be named his successor. They even went so far as to ask Alfonso to seize the throne. The nobles, now in control of Alfonso and claiming that he was the true heir, clashed with King Henry's forces at the Second Battle of Olmedo in 1467. The battle was a draw. King Henry agreed to recognize Alfonso as his heir presumptive, provided that he would marry his daughter, Princess Joanna la Beltraneja. Soon after he was named Prince of Asturias, Isabella's younger brother Alfonso died in July 1468, likely of the plague. The nobles who had supported him suspected poisoning. As she had been named in her brother's will as his successor, the nobles asked Isabella to take his place as champion of the rebellion. However, support for the rebels had begun to wane, and Isabella preferred a negotiated settlement to continuing the war. She met with her elder half-brother Henry at Toros de Guisando and they reached a compromise: the war would stop, King Henry would name Isabella his heir-presumptive instead of his daughter Joanna, and Isabella would not marry without her half-brother's consent, but he would not be able to force her to marry against her will. Isabella's side came out with most of what the nobles desired, though they did not go so far as to officially depose King Henry; they were not powerful enough to do so, and Isabella did not want to jeopardize the principle of fair inherited succession, since it was upon this idea that she had based her argument for legitimacy as heir-presumptive.
Marriage
The question of Isabella's marriage was not a new one. She had, at the age of six, a betrothal to Ferdinand, the younger son of John II of Navarre (whose family was a cadet branch of the House of Trastámara). At that time, the two kings, Henry and John, were eager to show their mutual love and confidence and they believed that this alliance would make their eternal friendship obvious to the world. This arrangement, however, did not last long.
Ferdinand's uncle Alfonso V of Aragon died in 1458. All of Alfonso's Spanish territories, as well as the islands of Sicily and Sardinia, were left to his brother John II. John now had a stronger position than ever before and no longer needed the security of Henry's friendship. Henry was now in need of a new alliance. He saw the chance for this much-needed new friendship in Charles of Viana, John's elder son. Charles was constantly at odds with his father, and because of this, he secretly entered into an alliance with Henry IV of Castile. A major part of the alliance was that a marriage was to be arranged between Charles and Isabella. When John II learned of this arranged marriage, he was outraged. Isabella had been intended for his favourite younger son, Ferdinand, and in his eyes, this alliance was still valid. John II had his son Charles thrown in prison on charges of plotting against his father's life. Charles died in 1461.
In 1465, an attempt was made to marry Isabella to Afonso V of Portugal, Henry's brother-in-law. Through the medium of the Queen and Count of Ledesma, a Portuguese alliance was made. Isabella, however, was wary of the marriage and refused to consent.
A civil war broke out in Castile over King Henry's inability to act as sovereign. Henry now needed a quick way to please the rebels of the kingdom. As part of an agreement to restore peace, Isabella was then to be betrothed to Pedro Girón Acuña Pacheco, Master of the Order of Calatrava and brother to the King's favourite, Juan Pacheco. In return, Don Pedro would pay into the royal treasury an enormous sum of money. Seeing no alternative, Henry agreed to the marriage. Isabella was aghast and prayed to God that the marriage would not come to pass. Her prayers were answered when Don Pedro suddenly fell ill and died while on his way to meet his fiancée.
When Henry had recognized Isabella as his heir-presumptive on 19 September 1468, he had also promised that his half-sister should not be compelled to marry against her will, while she in return had agreed to obtain his consent. It seemed that the years of failed attempts at political marriages were finally over. There was talk of a marriage to Edward IV of England or to one of his brothers, probably Richard, Duke of Gloucester, but this alliance was never seriously considered. Once again in 1468, a marriage proposal arrived from Afonso V of Portugal. Going against his promises made in September, Henry tried to make the marriage a reality. If Isabella married Afonso, Henry's daughter Joanna would marry Afonso's son John II and thus, after the death of the old king, John and Joanna could inherit Portugal and Castile. Isabella refused and made a secret promise to marry her cousin and very first betrothed, Ferdinand of Aragon.
After this failed attempt, Henry once again went against his promises and tried to marry Isabella to Louis XI's brother Charles, Duke of Berry. In Henry's eyes, this alliance would cement the friendship of Castile and France as well as remove Isabella from Castilian affairs. However, Isabella once again refused the proposal. Meanwhile, John II of Aragon negotiated in secret with Isabella a wedding to his son Ferdinand.
On 18 October 1469, the formal betrothal took place. Because Isabella and Ferdinand were second cousins, they stood within the prohibited degrees of consanguinity and the marriage would not be legal unless a dispensation from the Pope was obtained. With the help of the Valencian Cardinal Rodrigo Borgia (later Alexander VI), Isabella and Ferdinand were presented with a supposed papal bull by Pius II (who had actually died in 1464), authorising Ferdinand to marry within the third degree of consanguinity, making their marriage legal. Afraid of opposition, Isabella eloped from the court of Henry with the excuse of visiting her brother Alfonso's tomb in Ávila. Ferdinand, on the other hand, crossed Castile in secret disguised as a servant. They married immediately upon reuniting on 19 October 1469 in the Palacio de los Vivero in the city of Valladolid.
War with Portugal
On 12 December 1474, news of King Henry IV's death in Madrid (which had happened on 11 December) reached Segovia. This prompted Isabella to take refuge within the walls of the Alcázar of Segovia, where she received the support of Andres de Cabrera and Segovia's council. The next day, Isabella was proclaimed Queen of Castile and León.
Isabella's reign got off to a rocky start. King Henry IV had named Isabella as his successor, so when she ascended to the throne in 1474, there were already several plots against her. Diego Pacheco, the Marquis of Villena, and his followers maintained that Joanna la Beltraneja, Henry's daughter, was the rightful queen. Shortly after the Marquis made his claim, a longtime supporter of Isabella, the Archbishop of Toledo, left court to plot with his great-nephew the Marquis. The Archbishop and Marquis made plans to have Joanna marry her uncle King Afonso V of Portugal and invade Castile to claim the throne for themselves.
In May 1475, King Afonso and his army crossed into Spain and advanced to Plasencia. Here he married the young Joanna. A long and bloody war for the Castilian succession then took place. The war went back and forth for almost a year, until the Battle of Toro on 1 March 1476, in which both sides claimed and celebrated victory: the troops of King Afonso V were beaten by the Castilian centre-left commanded by the Duke of Alba and Cardinal Mendoza while the forces led by John of Portugal defeated the Castilian right wing and remained in possession of the battlefield.
But despite its uncertain outcome, the Battle of Toro represented a great political victory for the Catholic Monarchs, assuring them the throne since the supporters of Joanna la Beltraneja disbanded and the Portuguese army, without allies, left Castile.
As summarised by the historian Justo L. González:
Both armies faced each other at the camps of Toro resulting in an indecisive battle. But while the Portuguese King reorganised his troops, Ferdinand sent news to all the cities of Castile and to several foreign kingdoms informing them about a huge victory where the Portuguese were crushed. Faced with these news, the party of "la Beltraneja" [Joanna] was dissolved and the Portuguese were forced to return to their kingdom.
With great political vision, Isabella took advantage of the moment and convoked courts at Madrigal-Segovia (April–October 1476) where her eldest child and daughter Isabella was first sworn as heiress to Castile's crown. That was equivalent to legitimising Isabella's own throne.
In August of the same year, Isabella proved her abilities as a powerful ruler on her own. A rebellion broke out in Segovia, and Isabella rode out to suppress it, as her husband Ferdinand was off fighting at the time. Going against the advice of her male advisors, Isabella rode by herself into the city to negotiate with the rebels. She was successful and the rebellion was quickly brought to an end. Two years later, Isabella further secured her place as ruler with the birth of her son John, Prince of Asturias, on 30 June 1478. To many, the presence of a male heir legitimised her place as ruler.
Meanwhile, the Castilian and Portuguese fleets fought for hegemony in the Atlantic Ocean and for the wealth of Guinea (gold and slaves), where the decisive naval Battle of Guinea was fought.
The war dragged on for another three years and ended with a Castilian victory on land and a Portuguese victory on the sea. The four separate peace treaties signed at Alcáçovas (4 September 1479) reflected that result: Portugal gave up the throne of Castile in favour of Isabella in exchange for a very favourable share of the Atlantic territories disputed with Castile (they all went to Portugal with the exception of the Canary Islands: Guinea with its mines of gold, Cape Verde, Madeira, Azores, and the right of conquest over the Kingdom of Fez) plus a large war compensation: 106.676 dobles of gold. The Catholic Monarchs also had to accept that Joanna la Beltraneja remain in Portugal instead of Spain and to pardon all rebellious subjects who had supported Joanna and King Afonso. And the Catholic Monarchswho had proclaimed themselves rulers of Portugal and donated lands to noblemen inside this countryhad to give up the Portuguese crown.
At Alcáçovas, Isabella and Ferdinand had conquered the throne, but the Portuguese exclusive right of navigation and commerce in all of the Atlantic Ocean south of the Canary Islands meant that Spain was practically blocked out of the Atlantic and was deprived of the gold of Guinea, which induced anger in Andalusia. Spanish academic Antonio Rumeu de Armas claims that with the peace treaty of Alcáçovas in 1479, the Catholic Monarchs "... buy the peace at an excessively expensive price ..." and historian Mª Monserrat León Guerrero added that they "... find themselves forced to abandon their expansion by the Atlantic ...".
Christopher Columbus freed Castile from this difficult situation, because his New World discovery led to a new and much more balanced sharing of the Atlantic at Tordesillas in 1494. As the orders received by Columbus in his first voyage (1492) show: "[the Catholic Monarchs] have always in mind that the limits signed in the share of Alcáçovas should not be overcome, and thus they insist with Columbus to sail along the parallel of Canary." Thus, by sponsoring the Columbian adventure to the west, the Spanish monarchs were trying the only remaining path of expansion. As is now known, they would be extremely successful on this issue. Isabella had proven herself to be a fighter and tough monarch from the start. Now that she had succeeded in securing her place on the Castilian throne, she could begin to institute the reforms that the kingdom desperately needed.
Reform
Regulation of crime
When Isabella came to the throne in 1474, Castile was in a state of despair due to her brother Henry's reign. It was known that Henry IV was a big spender and did little to enforce the laws of his kingdom. It was even said by one Castilian denizen of the time that murder, rape, and robbery happened without punishment. Because of this, Isabella needed desperately to find a way to reform her kingdom. Due to the measures she imposed, historians during her lifetime saw her to be more inclined to justice than to mercy, and indeed far more rigorous and unforgiving than her husband Ferdinand.
La Santa Hermandad
Isabella's first major reform came during the cortes of Madrigal in 1476 in the form of a police force, La Santa Hermandad (the Holy Brotherhood). Although 1476 was not the first time that Castile had seen the Hermandad, it was the first time that the police force was used by the crown. During the late medieval period, the expression hermandad had been used to describe groups of men who came together of their own accord to regulate law and order by patrolling the roads and countryside and punishing malefactors. These brotherhoods had usually been suppressed by the monarch, however.
Furthermore, before 1476, the justice system in most parts of the country was effectively under the control of dissident members of the nobility rather than royal officials. To fix this problem, during 1476, a general Hermandad was established for Castile, Leon, and Asturias. The police force was to be made up of locals who were to regulate the crime occurring in the kingdom. It was to be paid for by a tax of 1800 maravedís on every one hundred households. In 1477, Isabella visited Extremadura and Andalusia to introduce this more efficient police force there as well.
Other criminal reforms
Keeping with her reformation of the regulation of laws, in 1481 Isabella charged two officials with restoring peace in Galicia. This turbulent province had been the prey of tyrant nobles since the days of Isabella's father, John II. Robbers had infested the highways and oppressed the smaller towns and villages. The officials Isabella charged set off with the Herculean task of restoring peace for the province and were ultimately successful. Indeed, they drove over 1,500 robbers from Galicia.
Finances
From the very beginning of her reign, Isabella fully grasped the importance of restoring the Crown's finances. The reign of Henry IV had left the kingdom of Castile in great debt. Upon examination, it was found that the chief cause of the nation's poverty was the wholesale alienation of royal estates during Henry's reign. To make money, Henry had sold off royal estates at prices well below their value. The Cortes of Toledo of 1480 came to the conclusion that the only hope of lasting financial reform lay in a resumption of these alienated lands and rents. This decision was warmly approved by many leading nobles of the court, but Isabella was reluctant to take such drastic measures. It was decided that the Cardinal of Spain would hold an enquiry into the tenure of estates and rents acquired during Henry IV's reign. Those that had not been granted as a reward for services were to be restored without compensation, while those that had been sold at a price far below their real value were to be bought back at the same sum. While many of the nobility were forced to pay large sums of money for their estates, the royal treasury became even richer. Isabella's one stipulation was that there would be no revocation of gifts made to churches, hospitals, or the poor.
Another issue of money was the overproduction of coinage and the abundance of mints in the kingdom. During Henry's reign, the number of mints regularly producing money had increased from just five to 150. Much of the coinage produced in these mints was nearly worthless. During the first year of her reign, Isabella established a monopoly over the royal mints and fixed a legal standard to which the coinage had to approximate. By shutting down many of the mints and taking royal control over the production of money, Isabella restored the confidence of the public in the Crown's ability to handle the kingdom's finances.
Government
Both Isabella and Ferdinand established very few new governmental and administrative institutions in their respective kingdoms. Especially in Castile, their main achievement was to use more effectively the institutions that had existed during the reigns of John II and Henry IV. Historically, the center of the Castilian government had been the royal household, together with its surrounding court. The household was traditionally divided into two overlapping bodies. The first body was made up of household officials, mainly people of the nobility, who carried out governmental and political functions for which they received special payment. The second body was made up of some 200 permanent servants or continos who performed a wide range of confidential functions on behalf of the rulers. By the 1470s, when Isabella began to take a firm grip on the royal administration, the senior offices of the royal household were simply honorary titles and held strictly by the nobility. The positions of a more secretarial nature were often held by senior churchmen. Substantial revenues were attached to such offices and were therefore enjoyed greatly, on an effectively hereditary basis, by the great Castilian houses of nobility. While the nobles held the titles, individuals of lesser breeding did the real work.
Traditionally, the main advisory body to the rulers of Castile was the Royal Council. The council, under the monarch, had full power to resolve all legal and political disputes. The council was responsible for supervising all senior administrative officials, such as the Crown representatives in all of the major towns. It was also the supreme judicial tribunal of the kingdom. In 1480, during the Cortes of Toledo, Isabella made many reforms to the Royal Council. Previously there had been two distinct yet overlapping categories of royal councillor. One formed a group which possessed both judicial and administrative responsibilities. This portion consisted of some bishops, some nobles, and an increasingly important element of professional administrators with legal training known as letrados. The second category of traditional councillor had a less formal role. This role depended greatly on the individuals' political influence and personal influence with the monarch. During Isabella's reign, the role of this second category was completely eliminated. As mentioned previously, Isabella had little care for personal bribes or favours. Because of this, this second type of councillor, usually of the nobility, was only allowed to attend the council of Castile as an observer.
Isabella began to rely more on the professional administrators than ever before. These men were mostly of the bourgeoisie or lesser nobility. The council was also rearranged and it was officially settled that one bishop, three caballeros, and eight or nine lawyers would serve on the council at a time. While the nobles were no longer directly involved in the matters of state, they were welcome to attend the meetings. Isabella hoped by forcing the nobility to choose whether to participate or not would weed out those who were not dedicated to the state and its cause.
Isabella also saw the need to provide a personal relationship between herself as the monarch and her subjects. Therefore, Isabella and Ferdinand set aside a time every Friday during which they themselves would sit and allow people to come to them with complaints. This was a new form of personal justice that Castile had not seen before. The Council of State was reformed and presided over by the King and Queen. This department of public affairs dealt mainly with foreign negotiations, hearing embassies, and transacting business with the Court of Rome. In addition to these departments, there was also a Supreme Court of the Santa Hermandad, a Council of Finance, and a Council for settling purely Aragonese matters. Although Isabella made many reforms that seem to have made the Cortes stronger, in actuality the Cortes lost political power during the reigns of Isabella and Ferdinand. Isabella and her husband moved in the direction of a non-parliamentary government and the Cortes became an almost passive advisory body, giving automatic assent to legislation which had been drafted by the royal administration.
After the reforms of the Cortes of Toledo, the Queen ordered a noted jurist, Alfonso Diaz de Montalvo, to undertake the task of clearing away legal rubbish and compiling what remained into a comprehensive code. Within four years the work stood completed in eight bulky volumes and the Ordenanzas Reales took their place on legal bookshelves.
Events of 1492
Granada
At the end of the Reconquista, only Granada was left for Isabella and Ferdinand to conquer. The Emirate of Granada had been held by the Muslim Nasrid dynasty since the mid-13th century. Protected by natural barriers and fortified towns, it had withstood the long process of the reconquista. On 1 February 1482, the king and queen reached Medina del Campo and this is generally considered the beginning of the war for Granada. While Isabella's and Ferdinand's involvement in the war was apparent from the start, Granada's leadership was divided and never able to present a united front. It still took ten years to conquer Granada, however, culminating in 1492.
The Spanish monarchs recruited soldiers from many European countries and improved their artillery with the latest and best cannon. Systematically, they proceeded to take the kingdom piece by piece. In 1485 they laid siege to Ronda, which surrendered after only a fortnight due to extensive bombardment. The following year, Loja was taken, and again Muhammad XII was captured and released. One year later, with the fall of Málaga, the western part of the Muslim Nasrid kingdom had fallen into Spanish hands. The eastern province succumbed after the fall of Baza in 1489. The siege of Granada began in the spring of 1491 and Muhammad XII finally surrendered at the end of the year. On 2 January 1492, Isabella and Ferdinand entered Granada to receive the keys of the city and the principal mosque was reconsecrated as a church. The Treaty of Granada was signed later that year; in it, Ferdinand and Isabella gave their word to allow the Muslims and Jews of Granada to live in peace.
During the war, Isabella noted the abilities and energy of Gonzalo Fernández de Córdoba and made him one of the two commissioners for the negotiations. Under her patronage, De Córdoba went on to an extraordinary military career that revolutionised the organisation and tactics of the emerging Spanish military, changing the nature of warfare and altering the European balance of power.
Columbus and Portuguese relations
Just three months after entering Granada, Queen Isabella agreed to sponsor Christopher Columbus on an expedition to reach the East Indies by sailing west (for a distance of 2000 miles, according to Columbus). The crown agreed to pay a sum of money as a concession from monarch to subject.
Columbus's expedition departed on 3 August 1492, and arrived in the New World on 12 October. He returned the next year and presented his findings to the monarchs, bringing natives and gold under a hero's welcome. Although Columbus was sponsored by the Castilian queen, treasury accounts show no royal payments to him until 1493, after his first voyage was complete. Spain then entered a Golden Age of exploration and colonisation—the period of the Spanish Empire. In 1494, by the Treaty of Tordesillas, Isabella and Ferdinand agreed to divide the Earth, outside of Europe, with King John II of Portugal. The Portuguese did not recognize that South America belonged to the Spanish because it was in Portugal's sphere of influence, and King John II threatened to send an army to claim the land for the Portuguese.
Position on slavery
Isabella was not in favor of enslaving the American natives. She established the royal position on how the indigenous people should be treated by following the recent policies implemented in the Canary Islands (which had a small amount of native inhabitants), which stated that all peoples were subjects of the Crown of Castile, and could not be enslaved in most situations. There were some circumstances in which a person could be enslaved, including being a prisoner of war, or for practicing cannibalism or sodomy.
After an episode in which Columbus captured 1,200 men, Isabella ordered their return and the arrest of Columbus, who was insulted in the streets of Granada. Isabella realized that she could not trust all the conquest and evangelization to take place through one man, so she opened the range for other expeditions led by Alonso de Hojeda, Juan de la Cosa, Vicente Yáñez Pinzón, or Pedro Alonso Niño.
To prevent her efforts from being reversed in the future, Isabella instructed her descendants in her last will as follows: "do not give rise to or allow the Indians [indigenous Americans] to receive any wrong in their persons and property, but rather that they be treated well and fairly, and if they have received any wrong, remedy it."
Expulsion of the Jews
With the institution of the Roman Catholic Inquisition in Spain, and with the Dominican friar Tomás de Torquemada as the first Inquisitor General, the Catholic Monarchs pursued a policy of religious and national unity. Though Isabella opposed taking harsh measures against Jews on economic grounds, Torquemada was able to convince Ferdinand. On 31 March 1492, the Alhambra decree for the expulsion of the Jews was issued. The Jews had until the end of July, four months, to leave the country and they were not to take with them gold, silver, money, arms, or horses. Traditionally, it had been claimed that as many as 200,000 Jews left Spain, but recent historians have shown that such figures are exaggerated: Henry Kamen has shown that out of a total population of 80,000 Jews, a maximum of 40,000 left and the rest converted. Hundreds of those that remained came under the Inquisition's investigations into relapsed conversos (Marranos) and the Judaizers who had been abetting them.
Later years
Isabella was given the title of Catholic Monarch by Pope Alexander VI, whose behavior and involvement in matters Isabella did not approve of. Along with the physical unification of Spain, Isabella and Ferdinand embarked on a process of spiritual unification, trying to bring the country under one faith (Roman Catholicism). As part of this process, the Inquisition became institutionalised. After a Muslim uprising in 1499, and further troubles thereafter, the Treaty of Granada was broken in 1502, and Muslims were ordered to either become Christians or to leave. Isabella's confessor, Cisneros, was named Archbishop of Toledo. He was instrumental in a program of rehabilitation of the religious institutions of Spain, laying the groundwork for the later Counter-Reformation. As Chancellor, he exerted more and more power.
Isabella and her husband had created an empire and in later years were consumed with administration and politics; they were concerned with the succession and worked to link the Spanish crown to the other rulers in Europe. By early 1497, all the pieces seemed to be in place: The son and heir John, Prince of Asturias, married a Habsburg princess, Margaret of Austria, establishing the connection to the Habsburgs. The eldest daughter, Isabella of Aragon, married King Manuel I of Portugal, and the younger daughter, Joanna of Castile, was married to a Habsburg prince, Philip I of Habsburg. In 1500, Isabella granted all non-rebellious natives in the colonies citizenship and full legal freedom by decree.
However, Isabella's plans for her eldest two children did not work out. Her only son, John of Asturias, died shortly after his marriage. Her daughter, Isabella of Aragon, died during the birth of her son, Miguel da Paz, who died shortly after, at the age of two. Queen Isabella I's crowns passed to her third child, Joanna, and her son-in-law, Philip I.
Isabella did, however, make successful dynastic matches for her two youngest daughters. The death of Isabella of Aragon created a necessity for Manuel I of Portugal to remarry, and Isabella's third daughter, Maria of Aragon, became his next bride. Isabella's youngest daughter, Catherine of Aragon, married England's Arthur, Prince of Wales, but his early death resulted in her being married to his younger brother, King Henry VIII of England.
Isabella officially withdrew from governmental affairs on 14 September 1504 and she died that same year on 26 November at the Medina del Campo Royal Palace. She had already been in decline since the deaths of her son Prince John of Asturias in 1497, her mother Isabella of Portugal in 1496, and her daughter Princess Isabella of Asturias in 1498. She is entombed in Granada in the Capilla Real, which was built by her grandson, Charles V, Holy Roman Emperor (Carlos I of Spain), alongside her husband Ferdinand, her daughter Joanna and Joanna's husband Philip I; and Isabella's 2-year-old grandson, Miguel da Paz (the son of Isabella's daughter, also named Isabella, and King Manuel I of Portugal). The museum next to the Capilla Real holds her crown and scepter.
Appearance and personality
Isabella was short but of strong stocky build, of a very fair complexion, and had a hair color that was between strawberry-blonde and auburn. Other descriptions, however, describe her hair as golden (blonde), and period illuminations show her several times with golden or strawberry blond hair.
Some portraits show her as a brunette. That is due to a phenomenon occurring in old portraits, which often causes hair pigments to go dark brown. Many portraits from the 15th and 16th centuries are a victim of it. However, the statue of her in Granada Cathedral, by Burgundian sculptor Philippe de Vigarny (born in Langres, in what is now France), also shows her as a dark-haired brunette.
Her daughters, Joanna and Catherine, were thought to resemble her the most in looks.
Isabella maintained an austere, temperate lifestyle, and her religious spirit influenced her the most in life. In spite of her hostility towards the Muslims in Andalusia, Isabella developed a taste for Moorish decor and style.
Isabella's contemporaries described her as follows:
Gonzalo Fernández de Oviedo y Valdés: "To see her speak was divine."
: "She was an endeavored woman, very powerful, very prudent, wise, very honest, chaste, devout, discreet, truthful, clear, without deceit. Who could count the excellences of this very Catholic and happy Queen, always very worthy of praises."
Hernando del Pulgar: "She was very inclined to justice, so much so that she was reputed to follow more the path of rigor than that of mercy, and did so to remedy the great corruption of crimes that she found in the kingdom when she succeeded to the throne."
: "[The royal knight Álvaro Yáñez de Lugo] was condemned to be beheaded, although he offered forty thousand ducados for the war against the Moors to the court so that these monies spare his life. This matter was discussed with the queen, and there were some who told her to pardon him, since these funds for the war were better than the death of that man, and her highness should take them. But the queen, preferring justice to cash, very prudently refused them; and although she could have confiscated all his goods, which were many, she did not take any of them to avoid any note of greed, or that it be thought that she had not wished to pardon him in order to have his goods; instead, she gave them all to the children of the aforesaid knight."
Ferdinand, in his testament, declared that "she was exemplary in all acts of virtue and of fear of God."
Fray Francisco Jiménez de Cisneros, her confessor and the Grand Inquisitor, praised "her purity of heart, her big heart and the grandness of her soul".
Family
Isabella and Ferdinand had seven children, five of whom survived to adulthood:
Isabella (1470–1498) married firstly to Afonso, Prince of Portugal, no issue. Married secondly to Manuel I of Portugal, had Miguel da Paz, who died before his second birthday.
A son, miscarried on 31 May 1475 in Cebreros
John (1478–1497), Prince of Asturias. Married Archduchess Margaret of Austria, no surviving issue.
Joanna (1479–1555), Queen of Castile. Married Philip the Handsome, had issue.
Maria (1482–1517), married Manuel I of Portugal, her sister's widower, had issue.
A daughter, stillborn twin sister of Maria. Born on 1 July 1482 at dawn.
Catherine (1485–1536), married firstly to Arthur, Prince of Wales, no issue. Married his younger brother, Henry VIII of England, had Henry, Duke of Cornwall and Mary I of England.
Cause of beatification and canonization
In 1958, José García Goldaraz, the Bishop of Valladolid where she died in 1504, started the canonical Catholic process of the Cause of Beatification and Canonization of Isabella. 17 experts were appointed to investigate more than 100,000 documents in the archives of Spain and the Vatican and the merits of opening a canonical process of canonization. 3,500 of these were chosen to be included in 27 volumes.
In 1970, that Commission determined that "A Canonical process for the canonization of Isabella the Catholic could be undertaken with a sense of security since there was not found one single act, public or private, of Queen Isabella that was not inspired by Christian and evangelical criteria; moreover there was a 'reputation of sanctity' uninterrupted for five centuries and as the investigation was progressing, it was more accentuated."
In 1972, the Process of Valladolid was officially submitted to the Congregation for the Causes of Saints in the Vatican. This process was approved and Isabel was given the title "Servant of God" in March 1974. The cause was initially stopped in 1991, one year before the commemoration of the fifth centenary of the discovery of the New World, due to her expulsion of the Jews. In April 2020, Cardinal Cañizares confirmed that Pope Francis had requested that Spanish bishops reopen Isabella's cause for canonization.
Some authors have claimed that Isabella's reputation for sanctity derives in large measure from an image carefully shaped and disseminated by the queen herself.
Arms
As Princess of Asturias, Isabella bore the undifferenced royal arms of the Crown of Castile and added the Saint John the Evangelist's Eagle, an eagle displayed as single supporter. As queen, she quartered the Royal Arms of the Crown of Castile with the Royal Arms of the Crown of Aragon, she and Ferdinand II of Aragon adopted a yoke and a bundle of arrows as heraldic badges. As co-monarchs, Isabella and Ferdinand used the motto "Tanto Monta" ("They amount to the same", or "Equal opposites in balance"), which refers to their prenuptial agreement. The conquest of Granada in 1492 was symbolised by the addition enté en point of a quarter with a pomegranate for Granada (in Spanish, Granada means pomegranate). There was an uncommon variant with the Saint John the Evangelist's eagle and two lions adopted as Castilian royal supporters by John II, Isabella's father.
Legacy
Isabella is most remembered for enabling Columbus' voyage to the New World, which ushered in an era of great wealth for Spain and Europe. Her reign saw the founding of the Spanish Empire, which in turn ultimately led to establishment of the modern nations of the Americas.
She and her husband completed the Reconquista, driving out the most significant Muslim influence in Western Europe and firmly establishing Spain and the Iberian peninsula as staunchly Catholic. Her reign also established the Spanish Inquisition.
Commemoration
The Spanish crown created the Order of Isabella the Catholic in 1815 in honor of the queen.
Isabella was the first woman to be featured on US postage stamps, namely on three stamps of the Columbian Issue, also in celebration of Columbus. She appears in the 'Columbus soliciting aid of Isabella', 5-cent issue, and on the Spanish court scene replicated on the 15-cent Columbian, and on the $4 issue, in full portrait, side by side with Columbus.
The $4 stamp is the only stamp of that denomination ever issued and one which collectors prize not only for its rarity (only 30,000 were printed) but its beauty, an exquisite carmine with some copies having a crimson hue. Mint specimens of this commemorative have been sold for more than $20,000.
Isabella was also the first named woman to appear on a United States coin, the 1893 commemorative Isabella quarter, celebrating the 400th anniversary of Columbus's first voyage.
Ancestry
Notes
References
Further reading
Boruchoff, David A. Isabel la Católica, Queen of Castile: Critical Essays. New York: Palgrave Macmillan, 2003.
, Bailey W. and Winius, George D. (1977) Foundations of the Portuguese Empire, 1415–1580, Volume 1, University of Minnesota Press.
Downey, Kirsten "Isabella, The Warrior Queen,". New York, Anchor Books, Penguin, 2014.
, Edmondo Michael (1992) Medieval Iberia: An Encyclopedia, Taylor & Francis.
Edwards, John. The Spain of the Catholic Monarchs, 1474–1520. Oxford: Blackwell 2000.
Hillgarth, J.N. The Spanish Kingdoms, 1250–1516. Castilian hegemony. Oxford 1978.
Hunt, Joceyln (2001) Spain, 1474–1598. Routledge, 1st Ed.
Kamen, Henry. The Spanish Inquisition: a historical revision (Yale University Press, 2014)
Liss, Peggy K. (1992) Isabel the Queen. New York: Oxford University Press;
, Marvin (1970) "The council of the Santa Hermandad: a study of the pacification forces of Ferdinand and Isabella", University of Miami Press.
Miller, Townsend Miller (1963) The Castles and the Crown: Spain 1451–1555. New York: Coward-McCann
Prescott, William H. (1838). History of the Reig of Ferdinand and Isabella.
Roth, Norman (1995) Conversos, Inquisition, and the Expulsion of the Jews from Spain. (Madison: The University of Wisconsin Press)
Stuart, Nancy Rubin. Isabella of Castile: the First Renaissance Queen (New York: St. Martin's Press, 1991)
Tremlett, Giles. '"Isabella of Castile. Europe's First Great Queen"' (London: Bloomsbury, 2017)
Tremlett, Giles. "Catherine of Aragon. Henry's Spanish Queen" (London: Faber and Faber, 2010)
Weissberger, Barbara F. Queen Isabel I of Castile: Power, Patronage, Persona (2008)
Weissberger, Barbara F. Isabel Rules: Constructing Queenship, Wielding Power (2003)
In Spanish and Portuguese
Books
, Antonio Rumeu (1992) El tratado de Tordesillas. Madrid: Colecciones MAPFRE 1492, book description.
Azcona, Tarsicio de. Isabel la Católica. Estudio crítico de su vida y su reinado. Madrid 1964.
, Joseph-Louis Ripault (1758) Abrégé chronologique de l'histoire de l'Éspagne, Duchesne, Paris, 3rd Tome.
, Jean (1993) La "imcomparable" Isabel la Catolica (The "incomparable" Isabella, the Catholic), Madrid: Encuentro Editiones, printed by Rogar-Fuenlabrada (Spanish edition).
, Justo L. (1994) Historia del Cristianismo, Miami: Editorial Unilit, Tome 2.
, Mª Monserrat León (2002) El segundo viaje colombino, Alicante: Biblioteca Virtual Miguel de Cervantes.
Ladero Quesada, Miguel Angel. La España de los Reyes Católicos, Madrid 1999.
, Ana Isabel Carrasco (2006) Isabel I de Castilla y la sombra de la ilegitimidad. Propaganda y representación en el conflicto sucesorio (1474–1482), Madrid: Sílex ediciones.
, Manuela (2007) O Sonho da União Ibérica – guerra Luso-Castelhana 1475/1479, Lisboa: Quidnovi, book description.
Pereira, Isabel Violante (2001) De Mendo da Guarda a D. Manuel I. Lisboa: Livros Horizonte
Perez, Joseph. Isabel y Fernando. Los Reyes Católicos. Madrid 1988.
Suárez Fernández, L. and M. Fernández (1969) La España de los reyes Católicos (1474–1516).
Articles
, Antonio Ballesteros (1941) Fernando el Católico, in Ejército revue, Ministerio del Ejercito, Madrid, nr 16, p. 54–66, May 1941.
, Rafael Dominguez (1990) San Juan de los reyes: espacio funerário y aposento régio – in Boletín del Seminário de Estúdios de Arte y Arqueologia, number 56, p. 364–383, University of Valladolid.
, Cesáreo Fernández (1901) La batalla de Toro (1476). Datos y documentos para su monografía histórica, Madrid: Boletín de la Real Academia de la Historia, tomo 38.
,Vicente Ángel Alvarez (2006) La guerra civil castellana y el enfrentamiento con Portugal (1475–1479), Universidad de Alicante, Biblioteca Virtual Miguel de Cervantes.
, Miguel-Ángel Ladero (2000) Portugueses en la frontera de Granada, Revista En la España medieval, Universidad Complutense, nr. 23, pages 67–100.
, António Macia- San Juan de los Reyes y la batalla de Toro, revista Toletum, segunda época, 1979 (9), pp. 55–70. Toledo: Real Academia de Bellas Artes y Ciencias Históricas de Toledo. ISSN: 0210-6310
Chronicles
, Damião de (1724) Chronica do Principe D. Joam, edited by Lisboa occidental at the officina da Música, Lisboa (Biblioteca Nacional Digital).
, Juan de (1839) Historia General de España, tome V Barcelona: printing press of D. Francisco Oliva.
, Alfonso de – Gesta Hispaniensia ex annalibus suorum diebus colligentis, Década III [https://books.google.com/books?id=-1A3cWT_1kAC&pg=PA93&lpg=PA93&dq=%22Alonso+de+Palencia+decada+cuarta+naves+castellanas%22&source=bl&ots=kdDs0IZIC2&sig=1GhLLlK7uT95iMhwkS2KqoLeBJQ&hl=pt-PT&ei=zGpZTbrYFIKAhQf-9YyDDQ&sa=X&oi=book_result&ct=result&resnum=1&ved and IV] (the three first Décadas were edited as Cronica del rey Enrique IV by Antonio Paz y Meliá in 1904 and the fourth as Cuarta Década by José Lopes de Toro in 1970).
, Ruy de (1902) Chronica de El- rei D. Affonso V, Project Gutenberg Ebook, Biblioteca de Clássicos Portugueses, 3rd book, Lisboa.
, Hernando del (1780) Crónica de los Señores Reyes Católicos Don Fernando y Doña Isabel de Castilla y de Aragón, (Biblioteca Virtual Miguel de Cervantes), Valencia: edited by Benito Monfort.
, Garcia de – Vida e feitos d'El Rei D.João II electronic version, wikisource.
External links
Isabella I in the Catholic Encyclopedia
Medieval Sourcebook: Columbus' letter to King and Queen of Spain, 1494
Music at Isabella's court
University of Hull: Genealogy information on Isabella I
El obispo judío que bloquea a la "santa". A report in Spanish about the beatification in El Mundo
Isabella I of Castile – Facts (Video) | Check123 – Video Encyclopedia
1451 births
1504 deaths
15th-century Castilian monarchs
16th-century Castilian monarchs
Aragonese queen consorts
Burials at the Royal Chapel of Granada
Castilian infantas
Countesses of Barcelona
History of Catholicism in Spain
House of Trastámara
Majorcan queens consort
People from the Province of Ávila
Princes of Asturias
Queens regnant
Order of Isabella the Catholic
Royal consorts of Naples
Royal consorts of Sicily
Spanish people of English descent
Spanish people of Portuguese descent
Spanish Renaissance people
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Roman Catholic royal saints
15th-century Spanish women
16th-century Spanish women
15th-century women rulers
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Spanish exploration in the Age of Discovery
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"Heli Carlos Natal de Oliveira (born 12 April 1979), known as Heli Carlos, is a retired Brazilian soccer player who has been working as a manager since 2012. And who currently commands the Guanabara City team.\n\nManagerial career\n\nBorn in Formosa, Goiás, Heli Carlos ended his career as a football player in Formosa in 2011 and remained at the club as a football supervisor.\n\nIn 2012, he had the first opportunity to lead the team as a coach, and even won his first title: the Taça João Saldanha.\n\nIn 2017 he became assistant coach and with the departure of the coach ended up taking over the team.\n\nIn 2020 the coach commanded Formosa in the First Division of the Campeonato Brasiliense. The team finished fourth in the competition. \n\nStill in 2020, the coach would lead Raça in Third Division of Campeonato Goiano, but the competition ended up not happening due to the Covid-19 pandemic.\n\nHonours\nTaça João Saldanha (Formosa) 2012\n\nReferences\n\n1979 births\nBrazilian footballers\nBrazilian football managers\nPeople from Goiás\nLiving people\nAssociation footballers not categorized by position",
"The women's mass start in the 2014–15 ISU Speed Skating World Cup was contested over six races on six occasions, out of a total of seven World Cup occasions for the season, with the first occasion taking place in Obihiro, Japan, on 14–16 November 2014, and the final occasion taking place in Erfurt, Germany, on 21–22 March 2015. The races were over 16 laps.\n\nThe defending champion was Francesca Lollobrigida of Italy. Ivanie Blondin of Canada won the cup. Lollobrigida ended up in sixth place.\n\nTop three\n\nRace medallists\n\nStandings \nStandings as of 22 March 2015 (end of the season).\n\nReferences \n\n \nWomen mass start"
] |
[
"Testament (band)",
"Dark Roots of Earth (2010-2013)"
] |
C_142a9f599b2f4ca58d11f9c759a730fa_0
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Was Dark Roots of Earth an album title?
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Was Dark Roots of Earth an album title for the band Testament?
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Testament (band)
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As early as 2009, Testament commenced writing new material for their tenth album. In an interview with Metalheadz, guitarist Eric Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, frontman Chuck Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On 18 May 2011, guitarist Alex Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's plus] new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Drummer Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band tours to support the album. Gene Hoglan, who played drums on the band's 1997 album Demonic, filled in for Bostaph. It was also reported that Lamb of God drummer Chris Adler would make a special guest appearance on a couple of bonus tracks. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth, which, after many delays, was released on July 27, 2012. Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date. Prior to the album's release, the band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. It was announced on 1 December 2011 that Paul Bostaph had left Testament. Gene Hoglan recorded the drum tracks for Dark Roots of Earth and continues to play live with the band. In interviews, Testament have expressed pleasure in Hoglan's playing, and hope that he would continue playing with the band for the foreseeable future. CANNOTANSWER
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it was announced that the tenth Testament studio album would be called Dark Roots of Earth,
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Testament is an American thrash metal band from Berkeley, California. Formed in 1983 under the name Legacy, the band's current lineup comprises rhythm guitarist Eric Peterson, lead vocalist Chuck Billy, lead guitarist Alex Skolnick and bassist Steve Di Giorgio. Testament has experienced many lineup changes over the years, with Peterson being the only remaining original member, though they have since been rejoined by one of its songwriters Skolnick, who was out of the band from 1992 to 2005. Billy has been a member of Testament since 1986, when he replaced original singer Steve "Zetro" Souza, who had joined Exodus as the replacement of Paul Baloff. He and Peterson are the only members to appear on all of Testament's studio albums, with the latter being the only constant member overall.
Labeled as one of the "big six" of the 1980s Bay Area thrash metal scene (along with Exodus, Death Angel, Lååz Rockit, Forbidden and Vio-lence), Testament is often credited as one of the most popular and influential bands of the thrash metal scene, as well as one of the leaders of the second wave of the genre in the late 1980s. They have also been referred to as one of the "big eight" of thrash metal, along with Metallica, Megadeth, Slayer, Anthrax, Exodus, Overkill and Death Angel. The band has sold over 1.4 million albums in the United States since the beginning of the SoundScan era and over 14 million copies worldwide. To date, Testament has released thirteen studio albums (one of which is a collection of re-recorded songs), four live albums, five compilation albums, twelve singles and three DVDs.
After signing to Atlantic Records in 1986, and changing their name from Legacy to Testament, they released their debut album The Legacy in 1987, followed a year later by The New Order (1988); both albums were acclaimed by critics and the press, including heavy metal-related publications. The band achieved mainstream popularity with its third album Practice What You Preach (1989), which was Testament's first album to climb up the Top 100 on the Billboard 200 chart. A string of more successful albums were released during the early-to-mid-1990s, including Souls of Black (1990), The Ritual (1992) and Low (1994), with the first two also entering the Top 100 on the Billboard 200 chart. After Atlantic dropped the band in 1995, Testament (who had at this point had begun to experiment with a death metal-influenced sound) continued to record and perform until their temporary hiatus in 2001, when Billy was diagnosed with cancer. By 2005, his cancer was in remission and Testament had resumed activity, which briefly saw a reunion of The Legacy lineup and member changes in the interim. Since Skolnick's return to the band, Testament has experienced a resurgence of popularity, with two of their studio albums—Dark Roots of Earth (2012) and Brotherhood of the Snake (2016)—entering the Top 20 on the Billboard 200, and they have continued to tour consistently. The band released their latest studio album, Titans of Creation, on April 3, 2020. They are working on new material for their next studio album as of 2021.
History
Early years and first two albums (1983–1989)
The band was formed in the San Francisco Bay Area in 1983 under the name Legacy by guitarist Eric Peterson and his cousin, guitarist Derrick Ramirez. They soon added drummer Louie Clemente, vocalist Steve Souza and bassist Greg Christian and began playing club shows with bands such as Slayer, Lȧȧz Rockit, Death Angel and others. Clemente left the band in 1985 and was replaced by drummer Mike Ronchette. Derrick Ramirez departed soon after and young guitarist Alex Skolnick, who had studied under Bay Area guitarist Joe Satriani, was brought into the band. Legacy had been writing original material since forming and released a self-titled, four-song demo in 1985. Steve Souza left the band in 1986 to join Exodus and was replaced by Chuck Billy at Souza's suggestion. Mike Ronchette also left the band, and former drummer Louie Clemente returned.
The band was signed to Megaforce Records in 1986 on the strength of the demo tape. While recording their first album, the band was forced to change their name to Testament (which, according to Maria Ferrero in the May 2007 issue of Revolver, was suggested by Billy Milano of S.O.D. and M.O.D.), because the "Legacy" name was already trademarked by a hotel R&B cover band. Legacy played their last show prior to this name change at The Stone in San Francisco on March 4, 1987.
Testament's debut album, The Legacy, was released in April 1987 on Megaforce Records, and also distributed by Atlantic. They received instant fame within thrash circles and were often compared with fellow Bay Area thrash pioneers Metallica. Thanks to this, and the regular rotation of their first-ever music video "Over the Wall" on MTV's Headbangers Ball, the band quickly managed to increase their exposure by heading out on successful American and European tours with Anthrax, who were supporting their Among the Living album. On this tour, the Live at Eindhoven EP was recorded. Testament also opened for Slayer as well as their labelmates Overkill, and Megadeth on their Peace Sells... but Who's Buying? tour.
Testament's second album, The New Order, was released in May 1988, and found the band continuing in a similar vein. The album was a minor success, peaking at number 136 on the Billboard 200, but managed to sell over 250,000 copies on the strength of the airplay of "Trial by Fire" and the cover of Aerosmith's Nobody's Fault" (through radio and television), as well as relentless touring schedules. In support of The New Order, Testament opened for Megadeth on their So Far, So Good... So What! tour in Europe, and toured the United States with the likes of Overkill, Voivod, Death Angel, Vio-Lence, Nuclear Assault, Sanctuary, Raven, Forbidden and Heathen. They also made a number of festival appearances in the summer of 1988, such as Metalfest in Milwaukee, Aardschokdag in The Netherlands, and replaced Megadeth for some dates on the European Monsters of Rock tour, also featuring Iron Maiden, Kiss, David Lee Roth, Great White and Anthrax. By the time The New Order tour ended in early 1989, Testament had not only cemented their reputation as one of the most acclaimed thrash metal acts, but had also graduated to headlining their own shows.
Commercial breakthrough (1989–1992)
Testament released their third studio album, Practice What You Preach, in August 1989. The album minimized the occult and gothic themes found in the lyrical content of their first two albums, instead focusing on real-life issues such as politics and corruption, and while staying true to its thrash metal roots, it saw the band drawing influences from traditional heavy metal, jazz fusion and progressive/technical metal. Practice What You Preach was a commercial breakthrough for Testament, reaching at number 77 on the Billboard 200, and it was accompanied by three singles (the title track, "The Ballad" and "Greenhouse Effect") that received significant airplay from AOR radio stations and MTV's Headbangers Ball, further helping raise the band's profile. Testament toured for almost a year behind Practice What You Preach with several bands, including Overkill, Annihilator, Wrathchild America, Mortal Sin, Xentrix, Nuclear Assault, Savatage, Flotsam and Jetsam, Mordred, Dark Angel and a then-relatively unknown Primus. Despite selling over 450,000 copies, the album has never been certified gold by the RIAA.
In October 1990, Testament released their fourth studio album Souls of Black. Although reviews were mixed, the album managed to sell respectably, in no doubt largely off the strength of the single title track, and saw the band perform on arena tours, including the European Clash of the Titans tour with Megadeth, Slayer and Suicidal Tendencies. Testament supported Souls of Black with two North American tours, opening for Judas Priest on their Painkiller tour from October to December 1990, and Slayer on their Seasons in the Abyss tour from January to March 1991. They also toured Japan, and played shows with Anthrax and Sepultura. Shortly after completing the Souls of Black tour, the band released their first VHS documentary Seen Between the Lines, containing live clips recorded during the Souls of Black world tour, four promotional music videos and video interview segments.
Attempting to reconnect with an audience distracted by the growing grunge movement, Testament released The Ritual in 1992. Recorded at One on One Recording in Los Angeles under producer Tony Platt, it saw a stylistic move away from thrash to a slower, slightly more traditional heavy metal sound, and a somewhat more progressive atmosphere, with the title track being the longest song Testament had recorded up to this point. Drummer Louie Clemente acknowledged this musical change in a 1992 interview with Deseret News, explaining, "The Ritual is slower and geared toward the old style of metal while The Legacy was pure thrash. In fact, every release has been different. We've progressed naturally." Clemente said in the same interview that Platt's involvement within the album helped Testament "get more of a vibe." The Ritual peaked at 55 on the Billboard 200, the band's highest chart position at the time, and the power ballad "Return to Serenity" managed to receive radio airplay, peaking at number 22. Despite selling more than 485,000 copies in the United States, the album has never received gold certification. In support of The Ritual, Testament toured Europe and North America, headlining their own tours, as well as opening for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour. However, the success of the album did not put an end to the tensions within the band.
Transitional period (1992–2004)
For the remainder of the 1990s, Testament had undergone a series of changes in its lineup, as well as a change of pace in its musical style. The first member of The Legacy-era lineup to leave the band was lead guitarist Alex Skolnick, who performed his last show with them on Halloween 1992. Skolnick has stated that one of the reasons he left Testament was because he wanted to expand his musical horizons rather than continuing to play thrash metal music. A few months later, drummer Louie Clemente left the band.
Skolnick and Clemente were temporarily replaced by Forbidden members Glen Alvelais and Paul Bostaph, respectively. This lineup released the 1993 live EP, Return to the Apocalyptic City. Soon after, Alvelais quit the band and Paul Bostaph departed to join Slayer. Their next album, Low (1994), featured John Tempesta on drums and death metal guitarist James Murphy, formerly of Death, Cancer, and Obituary. Low was a diverse album, featuring various influences such as alternative, hard rock, death metal, groove metal, progressive, and as well as a ballad, "Trail of Tears". The band's remaining fans reacted favorably to the album, although it did little to expand Testament's fanbase. Some fans, however, viewed Testament's move away from the mainstream as a liberation that allowed them to expand artistically, not being pressured by sales and success as they once were. Despite the fact that the album charted lower than the band's previous three albums on the Billboard 200 at number 122, its title track "Low" received decent airplay from Headbangers Ball on MTV and the Los Angeles-based radio station KNAC, just before both outlets went off the air in early 1995. Testament toured for over a year in support of Low, playing with numerous acts such as Machine Head, Downset., Korn, Forbidden, Kreator, At the Gates, Moonspell, Crowbar, Suffocation and Gorefest. Their first full-length live album Live at the Fillmore, released in the summer of 1995, was recorded during this tour and marked their first release since they ended their eight-and-a-half-year tenure with Atlantic Records.
Tempesta left Testament after the recording of Low to join White Zombie, being replaced by Jon Dette for the following tour, though the latter would leave the band in 1995. Dette's replacement was Chris Kontos, who had formerly been part of Machine Head. This lineup is featured on the Judas Priest cover Rapid Fire. After the 1996 club tour, Greg Christian, James Murphy, and Chris Kontos departed the band. During the time Kontos was in Testament he suggested the band drop the name altogether and call the band "Dog Faced Gods". This idea was turned down by Billy and Peterson who wanted to continue with the Testament name. The two later temporarily disbanded Testament.
The band's follow-up album, Demonic, released June 1997, took a new approach, and found Testament experimenting with death metal more. The album featured Eric Peterson on both lead and rhythm guitar (although Glen Alvelais made a guest appearance, and played on the subsequent tour), early member Derrick Ramirez on bass guitar, and former Dark Angel drummer Gene Hoglan. Hoglan left before the Demonic tour to join Strapping Young Lad, with Steve Jacobs doing the South American leg of the tour and Jon Dette returning later. Hoglan's loyalty to Strapping Young Lad and his desire to not remain a member of Testament actually came to realization during a published interview the band conducted with Metal Maniacs Magazine.
By 1998, Ramirez, Alvelais and Dette had departed and James Murphy had returned for the June 1999 release of The Gathering. The rhythm section on The Gathering was highly respected, consisting of metal fretless bass pioneer Steve Di Giorgio (formerly of Death and Sadus) and original Slayer drummer Dave Lombardo. The sound of the album was largely a combination of death metal and thrash metal, with a minor black metal influence from Eric Peterson's side project, Dragonlord.
Soon after the release of The Gathering, lead guitarist James Murphy was diagnosed with a brain tumor. Through various fundraisers, Murphy was able to afford surgery and eventually made a full recovery, but was unable to recall anything from the recording of The Gathering. In 2001, Chuck Billy was also diagnosed with germ cell seminoma, a rare form of testicular cancer, but it only affected Billy's lungs and heart. His cancer was also treated successfully. In August 2001, friends of Billy organized the Thrash of the Titans benefit concert, featuring seminal Bay Area thrash metal bands Vio-lence, Death Angel, Exodus, Forbidden, Sadus and Heathen, as well as Anthrax, S.O.D. and Flotsam and Jetsam. The show was headlined by a Legacy reunion, featuring Steve Souza on vocals, and former guitarist Alex Skolnick, who had not played with the band since 1992, and bassist Greg Christian. Late in 2001, Testament released First Strike Still Deadly, a collection of re-recordings (with modern studio technology) of songs from their first two albums. The album featured the lineup of Billy, Peterson, Di Giorgio, the return of Alex Skolnick on guitar, and John Tempesta on drums.
By 2003, Chuck Billy had made a full recovery, and the band began performing live again with a new drummer, Jon Allen of Sadus. In 2004, the band changed their lineup once again for their summer festival appearances. Jon Allen was replaced by Paul Bostaph, returning to the band for a second stint after a decade's absence. Lead guitarist Steve Smyth departed to join Nevermore and was replaced by ex-Halford guitarist "Metal" Mike Chlasciak. Shortly after Steve Smyth's departure, Eric Peterson fell down a flight of stairs, breaking his leg, and was unavailable for some dates. He was temporarily replaced by Steve Smyth.
Reunion of classic lineup and The Formation of Damnation (2005–2010)
In May 2005, it was announced that Testament would be doing a brief Europe-only reunion tour – known as the "10 Days in May Tour" – featuring the classic lineup of Billy, Peterson, Skolnick and Christian, with drum duties shared between John Tempesta and Louie Clemente. After the success of the initial tour dates, Testament announced more dates in the U.S., Europe, and Japan with the classic lineup. Later that year, Skolnick also toured the East Coast with Trans-Siberian Orchestra. The band went on to release a live DVD and CD from the tour entitled Live in London. In interviews on the DVD, Eric Peterson expressed his desire to record the follow-up to The Gathering with the classic Testament lineup. He also stated that Alex Skolnick had begun writing songs for the new album. Chuck Billy was very vocal about how happy he was to have Alex, Greg, Louie, and John Tempesta in the band once again, and hoped to maintain a stable lineup going forward. Also in 2005, Testament's long-out of print documentary Seen Between the Lines was released on DVD for the first time.
Testament played for the first time in the Middle East at the Dubai Desert Rock festival in March 2006. Other notable bands that performed for the Desert Rock Festival were Iron Maiden, Megadeth, Reel Big Fish and 3 Doors Down.
In July 2007, the band played a show at Jaxx Nightclub in Springfield, Virginia, with Paul Bostaph filling in on drum duties. It was later confirmed that Bostaph would be officially returning to the band to record the new album. The band debuted a new song at that show titled "The Afterlife", which they also played at Earthshaker Fest.
In February 2008, the band released the song "More Than Meets the Eye" from the new album on their Myspace page.
In April 2008, Testament was confirmed for Ozzy Osbourne's Monsters of Rock festival to take place on July 26, 2008, in Calgary, Alberta, Canada.
Testament released their first studio album in nine years, The Formation of Damnation, on April 29, 2008, through Nuclear Blast Records. It was the first Testament album to feature Alex Skolnick on guitar since 1992's The Ritual, and the first to feature bassist Greg Christian since 1994's Low.
The band was confirmed to be the main event on the first day of the "Gillmanfest," a rock festival to be held on May 24, 2008, in Valencia, Venezuela, visiting Colombia for the second time in the band's extensive career. In June 2008, Testament headlined the 3rd stage at Download Festival, held at Donington Park, UK. The band also toured the US as a supporting act for Judas Priest, Heaven & Hell, and Motörhead on the "Metal Masters Tour". The band announced that they had recruited guitarist Glen Drover (ex-Megadeth and King Diamond) to fill in on their upcoming Mexican tour dates with Judas Priest, due to Alex Skolnick's prior commitment to the Trans-Siberian Orchestra.
Testament would embark on the "Priest Feast" European tour with headliners Judas Priest and Megadeth in February and March 2009. On March 25, 2009, Testament played a special one-off show at the O2 Islington Academy in London, where they performed their first two albums (The Legacy and The New Order) back-to-back, with British thrash band Sylosis in support. Also in 2009, Testament set out on a 6-week tour across the US to promote The Formation of Damnation, touring with Unearth and Lazarus A.D. In early 2010, Testament toured the United States with Megadeth and Exodus. Alex Skolnick did not participate in the tour due to previous obligations and Glen Drover again filled in for him. In the summer of 2010, the band toured Australia, and supported Megadeth and Slayer on the American Carnage Tour. Testament also headlined for the first time in the Philippines for the annual Pulp Summer Slam on April 17, 2010 with heavy metal band Lamb of God.
Dark Roots of Earth (2010–2013)
As early as 2009, Testament started writing new material for their tenth album. In an interview with Metalheadz, Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On May 18, 2011, Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's] plus new ones we wrote today. Planning one more, then we've got more than we need."
Testament began recording their tenth studio album on June 20, 2011. Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band began touring to support the album. Bostaph was replaced by Gene Hoglan, who had played drums with Testament on their 1997 album Demonic.
Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames.
The band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. John Tempesta filled in for Bostaph on the tour. It was announced on December 1, 2011 that Paul Bostaph had left Testament. Gene Hoglan, who had recorded the drum tracks for the new album, was brought back after the band had expressed pleasure in his playing, hoping that he would continue with the band for the foreseeable future.
After many delays, the band's tenth studio album Dark Roots of Earth was released on July 27, 2012. The album debuted at No. 12 on the Billboard 200, their highest chart position to date. Lamb of God drummer Chris Adler made a guest appearance on the bonus track "A Day in the Death".
Dark Roots of Thrash and Brotherhood of the Snake (2013–2019)
In August 2012, Peterson stated that Testament would record an eleventh studio album if Dark Roots of Earth did well. A week prior to the release of Dark Roots of Earth, Billy promised that Testament would not take "huge gaps" between albums anymore, and would "work hard and tour for two years or so," and try to release another album when they could. Hoglan had also said that he would "absolutely dig" to be a part of the writing of the next Testament album.
On September 13, 2013, Billy told Rock Overdose that from January to April 2014, Testament would be writing and recording their eleventh studio album for a 2014 release. Testament released a live DVD/double album Dark Roots of Thrash on October 15, 2013. The release documents the band's sold-out headlining performance at the Paramount in Huntington, New York, in February 2013.
In January 2014, bassist Greg Christian left Testament again, and was replaced by a returning Steve Di Giorgio. Christian has claimed that the reasons behind his departure were because of money disputes and differences with the band.
When asked in an April 2015 interview about Testament's plans to begin recording their twelfth album, Peterson said that his "main goal" was to "get home [from tour] in June, finish it up and get in the studio by September." Billy also said that the band's goal was to have the album finished by Thanksgiving. Slovenian bassist Tilen Hudrap (Pestilence, Vicious Rumors, Paradox, Thraw) and Bay Area drummer Alex Bent (Arkaik, Dragonlord, Decrepit Birth, Battlecross) filled in for Di Giorgio and Hoglan respectively at the prestigious Canadian open-air festival Heavy Montreal in August 2015, which was attended by more than 70,000 spectators.
In May 2016, Billy confirmed their twelfth album would be entitled Brotherhood of the Snake. Of the album's lyrical content, he commented, "The Brotherhood of the Snake was actually a society about 6,000 years ago that debarred all religions. It was just a fascinating topic that caught our eye and attention and spawned a lot of songs. We're going with that vibe. There will be some songs that deviate, but the majority will be around that and aliens and religion. Then I'll probably tap into my native heritage and write some songs about that. It's not just going to be one concept, but there is some interesting stuff that we're finding to write about." Brotherhood of the Snake was released on October 28, 2016, and received generally positive reviews from critics, and scored Testament their second-highest chart position on the Billboard 200, peaking at number twenty. Shortly after its release, Testament embarked on an international tour with Amon Amarth, and toured North America in April–May 2017 with Sepultura, Prong, Infernal Tenebra and Dying Gorgeous Lies. The band also toured Europe with Annihilator and Death Angel in November and December 2017, and again in March and April 2018, with Annihilator and Vader supporting. Along with Anthrax, Lamb of God, Behemoth and Napalm Death, Testament opened for Slayer on their final North American tour, which took place in the spring and summer of 2018. Testament also performed at Megadeth's first-ever cruise called Megacruise in October 2019.
Titans of Creation and planned fourteenth studio album (2019–present)
By March 2017, Testament had begun writing the follow-up to Brotherhood of the Snake, with plans to release it in 2018. Billy stated in March 2018 that Testament would start working on their thirteenth studio album after they finish touring in support of Brotherhood of the Snake in August, hoping not to repeat the four-year gaps between their last three albums. He later stated that opening for Slayer on their farewell tour would be "the final lap for [them] touring" in support of Brotherhood of the Snake. Work on the follow-up album began in February 2019, and pre-production began in May with Andy Sneap as the mixer. Drummer Gene Hoglan revealed in a June 2019 interview on the "Talk Toomey" podcast that the band had finished recording the album for a 2019 or early 2020 release. Peterson later stated that it would be released in January 2020.
The band, along with Exodus and Death Angel, took part in The Bay Strikes Back tour of Europe in February and March 2020. Following the tour, Chuck Billy and his wife Tiffany tested positive for COVID-19, making him the third person to have contracted the virus during the tour following Will Carroll of Death Angel and Gary Holt of Exodus. Bassist Steve Di Giorgio was later diagnosed with COVID-19, becoming the second member of Testament to have tested positive for the condition.
Testament released their thirteenth studio album Titans of Creation on April 3, 2020. They were due to headline a US tour to promote the album, with support provided by The Black Dahlia Murder, Municipal Waste and Meshiaak, but it was postponed due to the COVID-19 pandemic. For this reason, Testament did not tour in support of Titans of Creation for over a-year-and-a-half; touring for the album was scheduled to start in the fall of 2021, with the band resuming their Bay Strikes Back tour in the US with Exodus and Death Angel, but the COVID pandemic led to its postponement to the spring of 2022. Following this will be summer European tour, which will include festival appearances, as well as headlining dates with Exodus, Death Angel and Heathen, and one with Sepultura.
In a May 2020 interview with Exodus and former Legacy frontman Steve "Zetro" Souza on his "Toxic Vault" video channel, Billy was asked if he was going to write another Testament album during the COVID-19 pandemic. His response was, "We're not writing a record yet. I won't release what we're doing, but we are gonna write some stuff. Just to do something, not a record but maybe something just to have some singles." In a July 2020 interview with Australia's Riff Crew, Billy commented on his take on the possibility of writing another Testament album during the pandemic, saying, "Well, if it is truly, as someone says, a two-year period, of course, we're gonna go write another record, and when it all settles, we'll have two records… And if it had to be that long, then, yeah, we would probably consider just writing another record." Peterson reiterated Billy's comments in September 2020 that the band could work on new material before they tour to support Titans of Creation. In a March 2021 interview on Alive & Streaming, an internet podcast hosted by Death Angel guitarist Ted Aguilar, Billy confirmed that Peterson has been writing new material for what could result in the next Testament album.
On January 21, 2022, the band and longtime drummer Gene Hoglan announced on their respective social media accounts that he had once again left Testament to pursue "an exciting new chapter of [his] career and free agency, with all that it will entail."
Legacy and influence
Inspired by the new wave of British heavy metal and local Bay Area music scenes, Testament has been credited as one of the leaders of the second wave of thrash metal in the late 1980s, as well as one of the most influential Bay Area thrash metal acts. AllMusic described them as "one of the first thrash acts to emerge from the Bay Area in Metallica's wake during the '80s."
Numerous hard rock and heavy metal acts such as Aerosmith, AC/DC, Angel Witch, Black Sabbath, Boston, Deep Purple, Def Leppard, Dio, Iron Maiden, Judas Priest, Kiss, Led Zeppelin, the Michael Schenker Group, Montrose, Ozzy Osbourne (particularly the Randy Rhoads era), Samson, Saxon, Scorpions, The Sweet, Thin Lizzy, UFO (particularly the Michael Schenker era), Van Halen and Venom have been cited as an influence or inspiration behind Testament's music. The band's other musical influences include The Beatles, as well as guitar players like Jeff Beck, Chuck Berry, Jimi Hendrix, Yngwie Malmsteen, Frank Marino, Mahogany Rush, Pat Travers and Johnny Winter, and their Bay Area thrash metal contemporaries Metallica and Exodus.
Testament has influenced multiple bands, such as Pantera, Sepultura, Death Angel, Annihilator, White Zombie, Korn, Machine Head, Drowning Pool, Kataklysm, Lamb of God, Morbid Angel, Cannibal Corpse, Entombed, Gojira, Killswitch Engage, Exhorder, Havok, Evile, Blind Guardian, Sevendust, Suicidal Angels, Trivium, Nightwish, Shadows Fall, Terror, Unearth, Skeletonwitch, Warbringer, Primal Fear, Fight, Sons of Texas, Incite, Demolition Hammer, and Forced Entry.
In the video for Bowling for Soup's "Punk Rock 101", guitarist and vocalist Jaret Reddick can be seen wearing one of Testament's t-shirts.
Members
Current members
Eric Peterson – lead and rhythm guitar, backing vocals
Chuck Billy – lead vocals
Alex Skolnick – lead guitar, backing vocals
Steve Di Giorgio – bass , backing vocals
Discography
The Legacy (1987)
The New Order (1988)
Practice What You Preach (1989)
Souls of Black (1990)
The Ritual (1992)
Low (1994)
Demonic (1997)
The Gathering (1999)
First Strike Still Deadly (2001)
The Formation of Damnation (2008)
Dark Roots of Earth (2012)
Brotherhood of the Snake (2016)
Titans of Creation (2020)
References
External links
1983 establishments in California
Musical groups established in 1983
Musical groups from Berkeley, California
Musical quintets
Nuclear Blast artists
Thrash metal musical groups from California
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[
"Brotherhood of the Snake is the twelfth studio album by American thrash metal band Testament, released on October 28, 2016. It is the band's first studio recording with bassist Steve Di Giorgio since First Strike Still Deadly (2001). Brotherhood of the Snake also marks Testament's fifth collaboration with Andy Sneap, who had mixed and engineered all of their albums since The Gathering (1999) and produced Dark Roots of Earth (2012). The album debuted at number twenty on the Billboard 200 chart, making it Testament's second-highest-charting album in the US, behind Dark Roots of Earth, which peaked at number twelve four years earlier.\n\nBackground and production\nThe possibility of an eleventh Testament studio album was first mentioned about a week before the release of Dark Roots of Earth, when vocalist Chuck Billy stated that Testament would not take \"huge gaps\" between albums anymore, and would \"work hard and tour for two years or so,\" and try to release another album when they could. Guitarist Eric Peterson added, \"There's definitely some politics in the band now. I think if the record does good — which I think it will — it'll see Testament be doing another record. There's some people in the band that are, you know, I think aren't a hundred percent there unless, you know, it keeps going good. That's pretty extreme, but, like for me, I'm down for whatever. I started the band, I'm totally into it. This is what I do. I think, you know, if Testament sees darker days, I don't know if this lineup would stick.\" Testament spent most of 2012 and 2013 touring in support of Dark Roots of Earth, including supporting Anthrax and Death Angel on the Worship Music tour, and headlining their own U.S. tour, with support from Overkill, Flotsam and Jetsam and 4ARM. 2013 also saw the release of a live DVD/double album from Testament Dark Roots of Thrash, which documents the band's sold-out headlining performance at the Paramount in Huntington, New York in February 2013.\n\nWhen asked in a September 2013 interview if Testament had any ideas for the follow-up to Dark Roots of Earth, Billy stated Testament would begin writing and recording the album from January to April 2014 for release later that year. He added that the band was in the \"right direction\" with Dark Roots of Earth, and added \"I think that the old saying 'if it's not broken, don't fix it' fits, so we're probably going to stick with the same formula and idea. I think that there isn't any Testament album that sounds the same, so who knows what kind of songs we'll write next year...I don't know.\" However, these plans fell through, when it was announced in January 2014 that bassist Greg Christian had left Testament for the second time, citing differences with the band and money disputes as the reasons. Christian was replaced by Di Giorgio, who was the bassist for Testament from 1998 to 2004.\n\nAsked in an April 2015 interview about Testament's plans to begin recording a new album, Peterson said that his \"main goal\" was to \"get home [from tour] in June, finish it up and get in the studio by September.\" Billy added that the band's goal was to have the album finished by Thanksgiving. In May 2016, Billy confirmed the title of Testament's eleventh album to be The Brotherhood of the Snake, which at the time had been recorded, and he hoped for it to be completed before their UK tour in June 2016. Peterson said that the album was going to \"get delivered at the end of June, and it'll be probably be delivered to the record company by the end of the summer just in time for a really big tour we're doing of Europe.\"\n\nWhen asked about the musical direction of Brotherhood of the Snake, Peterson replied, \"It's different. This one is more thrash. I mean, this has got some of the fastest stuff that we have ever played. Usually, we have one or two thrash songs, and then we have some mid-tempo, and then we have a slow, heavy one, and then up-tempo kind of stuff. Half of the new record is thrash, which we've never done before.\" He also described the album as their \"kind of Reign in Blood record\", a reference to Slayer's third studio album.\n\nBilly has stated that the album draws lyrical inspiration from the ancient astronaut hypothesis, namely through the Ancient Aliens television program. Furthermore, he said the title comes from the name of an ancient secret society.\n\nOn August 4, 2016, Testament began an eight-day countdown to the release of the artwork for Brotherhood of the Snake, and the album's track listing was revealed later that month.\nIn an interview published August 26, 2016, Testament singer Chuck Billy revealed that first single \"Brotherhood of the Snake\" would be released September 2, 2016.\nTestament released second single \"Stronghold\" October 12, 2016. The official video for the song “The Pale King” was released on October 31, 2016.\n\nReception\n\nBrotherhood of the Snake has received generally positive reviews from critics. AllMusic writer Thom Jurek gave the album three-and-a-half out of five stars, and states that it \"offers an excellent sonic portrait of Testament doing what they do best -- aggressive, riff-heavy, in-your-face thrash. There is a fun concept at work here, but this is more a track-by-track listening experience that adds up to a massive whole.\"\n\nTrack listing\n\nPersonnel\n Chuck Billy – lead vocals\n Alex Skolnick – lead guitar\n Eric Peterson – lead and rhythm guitar, backing vocals\n Steve Di Giorgio – bass\n Gene Hoglan – drums\n\nCharts\n\nReferences\n\nTestament (band) albums\n2016 albums\nNuclear Blast albums",
"Dark Roots of Earth is the eleventh studio album by American thrash metal band Testament. It was released on July 27, 2012 in Europe, and four days later in North America by independent German record label Nuclear Blast Records. The album is available in three configurations, CD, CD/DVD and vinyl, with the latter two versions including four bonus tracks. The album was produced by Andy Sneap, who mixed and engineered the band's previous three studio releases, The Gathering (1999), First Strike Still Deadly (2001), and The Formation of Damnation (2008). The album artwork was created by Eliran Kantor. A music video was made for the track \"Native Blood\". Dark Roots of Earth entered the Billboard 200 at number 12, Testament's highest position ever.\n\nThis album saw a reunion with Gene Hoglan, who played drums on the band's 1997 album Demonic. During the recording, Hoglan filled in for Paul Bostaph who was unable to attend the recording sessions because of a \"serious injury\", although the latter left the band in December 2011. Chris Adler of Lamb of God provided drum tracks on the iTunes bonus version of \"A Day in the Death\". Dark Roots of Earth is also the last Testament album with bassist Greg Christian, who left the band for the second time in January 2014.\n\nSongs\n\"Native Blood\" was released as a single from the album on July 20, 2012, both as a download and a limited edition 7\" single. A video was made for the song as well. A Spanish version of \"Native Blood\" entitled \"Sangre Nativa\" was released on the \"Native Blood\" single. Previously, \"True American Hate\" was released as a free download.\n\n\"Native Blood\" was described as being about Billy's Native American heritage. \"True American Hate\" was written about the prevalence of hatred, particularly anti-Americanism, in younger generations around the world, often perpetuated by their upbringing. Billy has described \"Cold Embrace\" as being about \"a girl becoming a vampire and never being able to see the sun again.\" He added that the band hoped to pitch it for a Twilight movie. \"Dark Roots of Earth\" was described as being a metaphor about the band. \"Rise Up\" is about war.\n\nCritical reception\n\nDark Roots of Earth has received universal acclaim. Ryan Ogle of Blabbermouth.net awards the album eight-and-a-half stars out of ten and states, \"This album is anything but a rehashing of former glories. The skilled interplay between Alex Skolnick and Eric Peterson, which features a wall-to-wall showcasing of intricate and harmonized runs, back-and-forth soloing, hooky riffs and metallic perfection, is at the centerpiece of this album. The duo displays everything that made them among the most formidable guitar teams on the late '80s / early '90s while placing everything into a modern context.\" Ogle also praises the music a \"noticeably different vibe than its predecessor by leaning more towards their (now) classic American thrash roots\", while he describes the album as a \"2012 take on Testament's classic and pioneering sound.\"\n\nDark Roots of Earth sold over 20,000 copies in the United States in its first week of release, and reached number twelve on the Billboard 200—Testament's highest U.S. chart position to date. By March 2013, Dark Roots of Earth sold around 60,000 copies in the U.S.\n\nTouring\nTo promote the album, Testament embarked on a U.S. and Canadian tour co-headlining with Anthrax and openers Death Angel in fall 2012. The three bands had already been touring the U.S. together since fall 2011, with Anthrax supporting their 2011 album Worship Music.\n\nIn January and February 2013, following the dates with Anthrax and Death Angel, Testament embarked on a U.S. headlining tour with Overkill, Flotsam and Jetsam, and Australian band 4Arm.\n\nTrack listing\n\nCredits \nWriting, performance and production credits are adapted from the album liner notes.\n\nPersonnel \nTestament\n Chuck Billy – lead vocals\n Eric Peterson – lead and rhythm guitars, backing vocals\n Alex Skolnick – lead guitars\n Greg Christian – bass\n Gene Hoglan – drums\n\nSession musicians\n Chris Adler – drums on \"A Day in the Death\" (iTunes bonus track)\n\nProduction\n Andy Sneap – production, engineering, recording, mixing, mastering\n Juan Urteaga – additional recording\n Testament – production, mixing, mastering\n\nBonus cover tracks production\n Juan Urteaga – recording, mixing\n Nik Chinboukas – additional recording of \"Dragon Attack\"\n Paul Suarez – additional recording of \"Animal Magnetism\" and \"Powerslave\"\n Chuck Billy – mixing\n Eric Peterson – mixing\n\nArtwork and design\n Eliran Kantor – cover art, booklet\n Eric Peterson – cover art concept\n Gino Carlini – photography\n\nStudios \n Driftwood Studios, Oakland, California, U.S. – recording\n Backstage Studios, Derby, England – recording\n Trident Studios, Martinez, California, U.S. – additional recording, recording (bonus cover tracks)\n Spin Studios, New York City, U.S. – additional recording (bonus cover tracks)\n\nChart positions\n\nReferences\n\nTestament (band) albums\n2012 albums\nNuclear Blast albums\nAlbums with cover art by Eliran Kantor\nAlbums produced by Andy Sneap"
] |
[
"Testament (band)",
"Dark Roots of Earth (2010-2013)",
"Was Dark Roots of Earth an album title?",
"it was announced that the tenth Testament studio album would be called Dark Roots of Earth,"
] |
C_142a9f599b2f4ca58d11f9c759a730fa_0
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How many copies did it sell?
| 2 |
How many copies did Dark Roots of Earth by Testament sell?
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Testament (band)
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As early as 2009, Testament commenced writing new material for their tenth album. In an interview with Metalheadz, guitarist Eric Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, frontman Chuck Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On 18 May 2011, guitarist Alex Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's plus] new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Drummer Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band tours to support the album. Gene Hoglan, who played drums on the band's 1997 album Demonic, filled in for Bostaph. It was also reported that Lamb of God drummer Chris Adler would make a special guest appearance on a couple of bonus tracks. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth, which, after many delays, was released on July 27, 2012. Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date. Prior to the album's release, the band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. It was announced on 1 December 2011 that Paul Bostaph had left Testament. Gene Hoglan recorded the drum tracks for Dark Roots of Earth and continues to play live with the band. In interviews, Testament have expressed pleasure in Hoglan's playing, and hope that he would continue playing with the band for the foreseeable future. CANNOTANSWER
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CANNOTANSWER
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Testament is an American thrash metal band from Berkeley, California. Formed in 1983 under the name Legacy, the band's current lineup comprises rhythm guitarist Eric Peterson, lead vocalist Chuck Billy, lead guitarist Alex Skolnick and bassist Steve Di Giorgio. Testament has experienced many lineup changes over the years, with Peterson being the only remaining original member, though they have since been rejoined by one of its songwriters Skolnick, who was out of the band from 1992 to 2005. Billy has been a member of Testament since 1986, when he replaced original singer Steve "Zetro" Souza, who had joined Exodus as the replacement of Paul Baloff. He and Peterson are the only members to appear on all of Testament's studio albums, with the latter being the only constant member overall.
Labeled as one of the "big six" of the 1980s Bay Area thrash metal scene (along with Exodus, Death Angel, Lååz Rockit, Forbidden and Vio-lence), Testament is often credited as one of the most popular and influential bands of the thrash metal scene, as well as one of the leaders of the second wave of the genre in the late 1980s. They have also been referred to as one of the "big eight" of thrash metal, along with Metallica, Megadeth, Slayer, Anthrax, Exodus, Overkill and Death Angel. The band has sold over 1.4 million albums in the United States since the beginning of the SoundScan era and over 14 million copies worldwide. To date, Testament has released thirteen studio albums (one of which is a collection of re-recorded songs), four live albums, five compilation albums, twelve singles and three DVDs.
After signing to Atlantic Records in 1986, and changing their name from Legacy to Testament, they released their debut album The Legacy in 1987, followed a year later by The New Order (1988); both albums were acclaimed by critics and the press, including heavy metal-related publications. The band achieved mainstream popularity with its third album Practice What You Preach (1989), which was Testament's first album to climb up the Top 100 on the Billboard 200 chart. A string of more successful albums were released during the early-to-mid-1990s, including Souls of Black (1990), The Ritual (1992) and Low (1994), with the first two also entering the Top 100 on the Billboard 200 chart. After Atlantic dropped the band in 1995, Testament (who had at this point had begun to experiment with a death metal-influenced sound) continued to record and perform until their temporary hiatus in 2001, when Billy was diagnosed with cancer. By 2005, his cancer was in remission and Testament had resumed activity, which briefly saw a reunion of The Legacy lineup and member changes in the interim. Since Skolnick's return to the band, Testament has experienced a resurgence of popularity, with two of their studio albums—Dark Roots of Earth (2012) and Brotherhood of the Snake (2016)—entering the Top 20 on the Billboard 200, and they have continued to tour consistently. The band released their latest studio album, Titans of Creation, on April 3, 2020. They are working on new material for their next studio album as of 2021.
History
Early years and first two albums (1983–1989)
The band was formed in the San Francisco Bay Area in 1983 under the name Legacy by guitarist Eric Peterson and his cousin, guitarist Derrick Ramirez. They soon added drummer Louie Clemente, vocalist Steve Souza and bassist Greg Christian and began playing club shows with bands such as Slayer, Lȧȧz Rockit, Death Angel and others. Clemente left the band in 1985 and was replaced by drummer Mike Ronchette. Derrick Ramirez departed soon after and young guitarist Alex Skolnick, who had studied under Bay Area guitarist Joe Satriani, was brought into the band. Legacy had been writing original material since forming and released a self-titled, four-song demo in 1985. Steve Souza left the band in 1986 to join Exodus and was replaced by Chuck Billy at Souza's suggestion. Mike Ronchette also left the band, and former drummer Louie Clemente returned.
The band was signed to Megaforce Records in 1986 on the strength of the demo tape. While recording their first album, the band was forced to change their name to Testament (which, according to Maria Ferrero in the May 2007 issue of Revolver, was suggested by Billy Milano of S.O.D. and M.O.D.), because the "Legacy" name was already trademarked by a hotel R&B cover band. Legacy played their last show prior to this name change at The Stone in San Francisco on March 4, 1987.
Testament's debut album, The Legacy, was released in April 1987 on Megaforce Records, and also distributed by Atlantic. They received instant fame within thrash circles and were often compared with fellow Bay Area thrash pioneers Metallica. Thanks to this, and the regular rotation of their first-ever music video "Over the Wall" on MTV's Headbangers Ball, the band quickly managed to increase their exposure by heading out on successful American and European tours with Anthrax, who were supporting their Among the Living album. On this tour, the Live at Eindhoven EP was recorded. Testament also opened for Slayer as well as their labelmates Overkill, and Megadeth on their Peace Sells... but Who's Buying? tour.
Testament's second album, The New Order, was released in May 1988, and found the band continuing in a similar vein. The album was a minor success, peaking at number 136 on the Billboard 200, but managed to sell over 250,000 copies on the strength of the airplay of "Trial by Fire" and the cover of Aerosmith's Nobody's Fault" (through radio and television), as well as relentless touring schedules. In support of The New Order, Testament opened for Megadeth on their So Far, So Good... So What! tour in Europe, and toured the United States with the likes of Overkill, Voivod, Death Angel, Vio-Lence, Nuclear Assault, Sanctuary, Raven, Forbidden and Heathen. They also made a number of festival appearances in the summer of 1988, such as Metalfest in Milwaukee, Aardschokdag in The Netherlands, and replaced Megadeth for some dates on the European Monsters of Rock tour, also featuring Iron Maiden, Kiss, David Lee Roth, Great White and Anthrax. By the time The New Order tour ended in early 1989, Testament had not only cemented their reputation as one of the most acclaimed thrash metal acts, but had also graduated to headlining their own shows.
Commercial breakthrough (1989–1992)
Testament released their third studio album, Practice What You Preach, in August 1989. The album minimized the occult and gothic themes found in the lyrical content of their first two albums, instead focusing on real-life issues such as politics and corruption, and while staying true to its thrash metal roots, it saw the band drawing influences from traditional heavy metal, jazz fusion and progressive/technical metal. Practice What You Preach was a commercial breakthrough for Testament, reaching at number 77 on the Billboard 200, and it was accompanied by three singles (the title track, "The Ballad" and "Greenhouse Effect") that received significant airplay from AOR radio stations and MTV's Headbangers Ball, further helping raise the band's profile. Testament toured for almost a year behind Practice What You Preach with several bands, including Overkill, Annihilator, Wrathchild America, Mortal Sin, Xentrix, Nuclear Assault, Savatage, Flotsam and Jetsam, Mordred, Dark Angel and a then-relatively unknown Primus. Despite selling over 450,000 copies, the album has never been certified gold by the RIAA.
In October 1990, Testament released their fourth studio album Souls of Black. Although reviews were mixed, the album managed to sell respectably, in no doubt largely off the strength of the single title track, and saw the band perform on arena tours, including the European Clash of the Titans tour with Megadeth, Slayer and Suicidal Tendencies. Testament supported Souls of Black with two North American tours, opening for Judas Priest on their Painkiller tour from October to December 1990, and Slayer on their Seasons in the Abyss tour from January to March 1991. They also toured Japan, and played shows with Anthrax and Sepultura. Shortly after completing the Souls of Black tour, the band released their first VHS documentary Seen Between the Lines, containing live clips recorded during the Souls of Black world tour, four promotional music videos and video interview segments.
Attempting to reconnect with an audience distracted by the growing grunge movement, Testament released The Ritual in 1992. Recorded at One on One Recording in Los Angeles under producer Tony Platt, it saw a stylistic move away from thrash to a slower, slightly more traditional heavy metal sound, and a somewhat more progressive atmosphere, with the title track being the longest song Testament had recorded up to this point. Drummer Louie Clemente acknowledged this musical change in a 1992 interview with Deseret News, explaining, "The Ritual is slower and geared toward the old style of metal while The Legacy was pure thrash. In fact, every release has been different. We've progressed naturally." Clemente said in the same interview that Platt's involvement within the album helped Testament "get more of a vibe." The Ritual peaked at 55 on the Billboard 200, the band's highest chart position at the time, and the power ballad "Return to Serenity" managed to receive radio airplay, peaking at number 22. Despite selling more than 485,000 copies in the United States, the album has never received gold certification. In support of The Ritual, Testament toured Europe and North America, headlining their own tours, as well as opening for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour. However, the success of the album did not put an end to the tensions within the band.
Transitional period (1992–2004)
For the remainder of the 1990s, Testament had undergone a series of changes in its lineup, as well as a change of pace in its musical style. The first member of The Legacy-era lineup to leave the band was lead guitarist Alex Skolnick, who performed his last show with them on Halloween 1992. Skolnick has stated that one of the reasons he left Testament was because he wanted to expand his musical horizons rather than continuing to play thrash metal music. A few months later, drummer Louie Clemente left the band.
Skolnick and Clemente were temporarily replaced by Forbidden members Glen Alvelais and Paul Bostaph, respectively. This lineup released the 1993 live EP, Return to the Apocalyptic City. Soon after, Alvelais quit the band and Paul Bostaph departed to join Slayer. Their next album, Low (1994), featured John Tempesta on drums and death metal guitarist James Murphy, formerly of Death, Cancer, and Obituary. Low was a diverse album, featuring various influences such as alternative, hard rock, death metal, groove metal, progressive, and as well as a ballad, "Trail of Tears". The band's remaining fans reacted favorably to the album, although it did little to expand Testament's fanbase. Some fans, however, viewed Testament's move away from the mainstream as a liberation that allowed them to expand artistically, not being pressured by sales and success as they once were. Despite the fact that the album charted lower than the band's previous three albums on the Billboard 200 at number 122, its title track "Low" received decent airplay from Headbangers Ball on MTV and the Los Angeles-based radio station KNAC, just before both outlets went off the air in early 1995. Testament toured for over a year in support of Low, playing with numerous acts such as Machine Head, Downset., Korn, Forbidden, Kreator, At the Gates, Moonspell, Crowbar, Suffocation and Gorefest. Their first full-length live album Live at the Fillmore, released in the summer of 1995, was recorded during this tour and marked their first release since they ended their eight-and-a-half-year tenure with Atlantic Records.
Tempesta left Testament after the recording of Low to join White Zombie, being replaced by Jon Dette for the following tour, though the latter would leave the band in 1995. Dette's replacement was Chris Kontos, who had formerly been part of Machine Head. This lineup is featured on the Judas Priest cover Rapid Fire. After the 1996 club tour, Greg Christian, James Murphy, and Chris Kontos departed the band. During the time Kontos was in Testament he suggested the band drop the name altogether and call the band "Dog Faced Gods". This idea was turned down by Billy and Peterson who wanted to continue with the Testament name. The two later temporarily disbanded Testament.
The band's follow-up album, Demonic, released June 1997, took a new approach, and found Testament experimenting with death metal more. The album featured Eric Peterson on both lead and rhythm guitar (although Glen Alvelais made a guest appearance, and played on the subsequent tour), early member Derrick Ramirez on bass guitar, and former Dark Angel drummer Gene Hoglan. Hoglan left before the Demonic tour to join Strapping Young Lad, with Steve Jacobs doing the South American leg of the tour and Jon Dette returning later. Hoglan's loyalty to Strapping Young Lad and his desire to not remain a member of Testament actually came to realization during a published interview the band conducted with Metal Maniacs Magazine.
By 1998, Ramirez, Alvelais and Dette had departed and James Murphy had returned for the June 1999 release of The Gathering. The rhythm section on The Gathering was highly respected, consisting of metal fretless bass pioneer Steve Di Giorgio (formerly of Death and Sadus) and original Slayer drummer Dave Lombardo. The sound of the album was largely a combination of death metal and thrash metal, with a minor black metal influence from Eric Peterson's side project, Dragonlord.
Soon after the release of The Gathering, lead guitarist James Murphy was diagnosed with a brain tumor. Through various fundraisers, Murphy was able to afford surgery and eventually made a full recovery, but was unable to recall anything from the recording of The Gathering. In 2001, Chuck Billy was also diagnosed with germ cell seminoma, a rare form of testicular cancer, but it only affected Billy's lungs and heart. His cancer was also treated successfully. In August 2001, friends of Billy organized the Thrash of the Titans benefit concert, featuring seminal Bay Area thrash metal bands Vio-lence, Death Angel, Exodus, Forbidden, Sadus and Heathen, as well as Anthrax, S.O.D. and Flotsam and Jetsam. The show was headlined by a Legacy reunion, featuring Steve Souza on vocals, and former guitarist Alex Skolnick, who had not played with the band since 1992, and bassist Greg Christian. Late in 2001, Testament released First Strike Still Deadly, a collection of re-recordings (with modern studio technology) of songs from their first two albums. The album featured the lineup of Billy, Peterson, Di Giorgio, the return of Alex Skolnick on guitar, and John Tempesta on drums.
By 2003, Chuck Billy had made a full recovery, and the band began performing live again with a new drummer, Jon Allen of Sadus. In 2004, the band changed their lineup once again for their summer festival appearances. Jon Allen was replaced by Paul Bostaph, returning to the band for a second stint after a decade's absence. Lead guitarist Steve Smyth departed to join Nevermore and was replaced by ex-Halford guitarist "Metal" Mike Chlasciak. Shortly after Steve Smyth's departure, Eric Peterson fell down a flight of stairs, breaking his leg, and was unavailable for some dates. He was temporarily replaced by Steve Smyth.
Reunion of classic lineup and The Formation of Damnation (2005–2010)
In May 2005, it was announced that Testament would be doing a brief Europe-only reunion tour – known as the "10 Days in May Tour" – featuring the classic lineup of Billy, Peterson, Skolnick and Christian, with drum duties shared between John Tempesta and Louie Clemente. After the success of the initial tour dates, Testament announced more dates in the U.S., Europe, and Japan with the classic lineup. Later that year, Skolnick also toured the East Coast with Trans-Siberian Orchestra. The band went on to release a live DVD and CD from the tour entitled Live in London. In interviews on the DVD, Eric Peterson expressed his desire to record the follow-up to The Gathering with the classic Testament lineup. He also stated that Alex Skolnick had begun writing songs for the new album. Chuck Billy was very vocal about how happy he was to have Alex, Greg, Louie, and John Tempesta in the band once again, and hoped to maintain a stable lineup going forward. Also in 2005, Testament's long-out of print documentary Seen Between the Lines was released on DVD for the first time.
Testament played for the first time in the Middle East at the Dubai Desert Rock festival in March 2006. Other notable bands that performed for the Desert Rock Festival were Iron Maiden, Megadeth, Reel Big Fish and 3 Doors Down.
In July 2007, the band played a show at Jaxx Nightclub in Springfield, Virginia, with Paul Bostaph filling in on drum duties. It was later confirmed that Bostaph would be officially returning to the band to record the new album. The band debuted a new song at that show titled "The Afterlife", which they also played at Earthshaker Fest.
In February 2008, the band released the song "More Than Meets the Eye" from the new album on their Myspace page.
In April 2008, Testament was confirmed for Ozzy Osbourne's Monsters of Rock festival to take place on July 26, 2008, in Calgary, Alberta, Canada.
Testament released their first studio album in nine years, The Formation of Damnation, on April 29, 2008, through Nuclear Blast Records. It was the first Testament album to feature Alex Skolnick on guitar since 1992's The Ritual, and the first to feature bassist Greg Christian since 1994's Low.
The band was confirmed to be the main event on the first day of the "Gillmanfest," a rock festival to be held on May 24, 2008, in Valencia, Venezuela, visiting Colombia for the second time in the band's extensive career. In June 2008, Testament headlined the 3rd stage at Download Festival, held at Donington Park, UK. The band also toured the US as a supporting act for Judas Priest, Heaven & Hell, and Motörhead on the "Metal Masters Tour". The band announced that they had recruited guitarist Glen Drover (ex-Megadeth and King Diamond) to fill in on their upcoming Mexican tour dates with Judas Priest, due to Alex Skolnick's prior commitment to the Trans-Siberian Orchestra.
Testament would embark on the "Priest Feast" European tour with headliners Judas Priest and Megadeth in February and March 2009. On March 25, 2009, Testament played a special one-off show at the O2 Islington Academy in London, where they performed their first two albums (The Legacy and The New Order) back-to-back, with British thrash band Sylosis in support. Also in 2009, Testament set out on a 6-week tour across the US to promote The Formation of Damnation, touring with Unearth and Lazarus A.D. In early 2010, Testament toured the United States with Megadeth and Exodus. Alex Skolnick did not participate in the tour due to previous obligations and Glen Drover again filled in for him. In the summer of 2010, the band toured Australia, and supported Megadeth and Slayer on the American Carnage Tour. Testament also headlined for the first time in the Philippines for the annual Pulp Summer Slam on April 17, 2010 with heavy metal band Lamb of God.
Dark Roots of Earth (2010–2013)
As early as 2009, Testament started writing new material for their tenth album. In an interview with Metalheadz, Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On May 18, 2011, Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's] plus new ones we wrote today. Planning one more, then we've got more than we need."
Testament began recording their tenth studio album on June 20, 2011. Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band began touring to support the album. Bostaph was replaced by Gene Hoglan, who had played drums with Testament on their 1997 album Demonic.
Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames.
The band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. John Tempesta filled in for Bostaph on the tour. It was announced on December 1, 2011 that Paul Bostaph had left Testament. Gene Hoglan, who had recorded the drum tracks for the new album, was brought back after the band had expressed pleasure in his playing, hoping that he would continue with the band for the foreseeable future.
After many delays, the band's tenth studio album Dark Roots of Earth was released on July 27, 2012. The album debuted at No. 12 on the Billboard 200, their highest chart position to date. Lamb of God drummer Chris Adler made a guest appearance on the bonus track "A Day in the Death".
Dark Roots of Thrash and Brotherhood of the Snake (2013–2019)
In August 2012, Peterson stated that Testament would record an eleventh studio album if Dark Roots of Earth did well. A week prior to the release of Dark Roots of Earth, Billy promised that Testament would not take "huge gaps" between albums anymore, and would "work hard and tour for two years or so," and try to release another album when they could. Hoglan had also said that he would "absolutely dig" to be a part of the writing of the next Testament album.
On September 13, 2013, Billy told Rock Overdose that from January to April 2014, Testament would be writing and recording their eleventh studio album for a 2014 release. Testament released a live DVD/double album Dark Roots of Thrash on October 15, 2013. The release documents the band's sold-out headlining performance at the Paramount in Huntington, New York, in February 2013.
In January 2014, bassist Greg Christian left Testament again, and was replaced by a returning Steve Di Giorgio. Christian has claimed that the reasons behind his departure were because of money disputes and differences with the band.
When asked in an April 2015 interview about Testament's plans to begin recording their twelfth album, Peterson said that his "main goal" was to "get home [from tour] in June, finish it up and get in the studio by September." Billy also said that the band's goal was to have the album finished by Thanksgiving. Slovenian bassist Tilen Hudrap (Pestilence, Vicious Rumors, Paradox, Thraw) and Bay Area drummer Alex Bent (Arkaik, Dragonlord, Decrepit Birth, Battlecross) filled in for Di Giorgio and Hoglan respectively at the prestigious Canadian open-air festival Heavy Montreal in August 2015, which was attended by more than 70,000 spectators.
In May 2016, Billy confirmed their twelfth album would be entitled Brotherhood of the Snake. Of the album's lyrical content, he commented, "The Brotherhood of the Snake was actually a society about 6,000 years ago that debarred all religions. It was just a fascinating topic that caught our eye and attention and spawned a lot of songs. We're going with that vibe. There will be some songs that deviate, but the majority will be around that and aliens and religion. Then I'll probably tap into my native heritage and write some songs about that. It's not just going to be one concept, but there is some interesting stuff that we're finding to write about." Brotherhood of the Snake was released on October 28, 2016, and received generally positive reviews from critics, and scored Testament their second-highest chart position on the Billboard 200, peaking at number twenty. Shortly after its release, Testament embarked on an international tour with Amon Amarth, and toured North America in April–May 2017 with Sepultura, Prong, Infernal Tenebra and Dying Gorgeous Lies. The band also toured Europe with Annihilator and Death Angel in November and December 2017, and again in March and April 2018, with Annihilator and Vader supporting. Along with Anthrax, Lamb of God, Behemoth and Napalm Death, Testament opened for Slayer on their final North American tour, which took place in the spring and summer of 2018. Testament also performed at Megadeth's first-ever cruise called Megacruise in October 2019.
Titans of Creation and planned fourteenth studio album (2019–present)
By March 2017, Testament had begun writing the follow-up to Brotherhood of the Snake, with plans to release it in 2018. Billy stated in March 2018 that Testament would start working on their thirteenth studio album after they finish touring in support of Brotherhood of the Snake in August, hoping not to repeat the four-year gaps between their last three albums. He later stated that opening for Slayer on their farewell tour would be "the final lap for [them] touring" in support of Brotherhood of the Snake. Work on the follow-up album began in February 2019, and pre-production began in May with Andy Sneap as the mixer. Drummer Gene Hoglan revealed in a June 2019 interview on the "Talk Toomey" podcast that the band had finished recording the album for a 2019 or early 2020 release. Peterson later stated that it would be released in January 2020.
The band, along with Exodus and Death Angel, took part in The Bay Strikes Back tour of Europe in February and March 2020. Following the tour, Chuck Billy and his wife Tiffany tested positive for COVID-19, making him the third person to have contracted the virus during the tour following Will Carroll of Death Angel and Gary Holt of Exodus. Bassist Steve Di Giorgio was later diagnosed with COVID-19, becoming the second member of Testament to have tested positive for the condition.
Testament released their thirteenth studio album Titans of Creation on April 3, 2020. They were due to headline a US tour to promote the album, with support provided by The Black Dahlia Murder, Municipal Waste and Meshiaak, but it was postponed due to the COVID-19 pandemic. For this reason, Testament did not tour in support of Titans of Creation for over a-year-and-a-half; touring for the album was scheduled to start in the fall of 2021, with the band resuming their Bay Strikes Back tour in the US with Exodus and Death Angel, but the COVID pandemic led to its postponement to the spring of 2022. Following this will be summer European tour, which will include festival appearances, as well as headlining dates with Exodus, Death Angel and Heathen, and one with Sepultura.
In a May 2020 interview with Exodus and former Legacy frontman Steve "Zetro" Souza on his "Toxic Vault" video channel, Billy was asked if he was going to write another Testament album during the COVID-19 pandemic. His response was, "We're not writing a record yet. I won't release what we're doing, but we are gonna write some stuff. Just to do something, not a record but maybe something just to have some singles." In a July 2020 interview with Australia's Riff Crew, Billy commented on his take on the possibility of writing another Testament album during the pandemic, saying, "Well, if it is truly, as someone says, a two-year period, of course, we're gonna go write another record, and when it all settles, we'll have two records… And if it had to be that long, then, yeah, we would probably consider just writing another record." Peterson reiterated Billy's comments in September 2020 that the band could work on new material before they tour to support Titans of Creation. In a March 2021 interview on Alive & Streaming, an internet podcast hosted by Death Angel guitarist Ted Aguilar, Billy confirmed that Peterson has been writing new material for what could result in the next Testament album.
On January 21, 2022, the band and longtime drummer Gene Hoglan announced on their respective social media accounts that he had once again left Testament to pursue "an exciting new chapter of [his] career and free agency, with all that it will entail."
Legacy and influence
Inspired by the new wave of British heavy metal and local Bay Area music scenes, Testament has been credited as one of the leaders of the second wave of thrash metal in the late 1980s, as well as one of the most influential Bay Area thrash metal acts. AllMusic described them as "one of the first thrash acts to emerge from the Bay Area in Metallica's wake during the '80s."
Numerous hard rock and heavy metal acts such as Aerosmith, AC/DC, Angel Witch, Black Sabbath, Boston, Deep Purple, Def Leppard, Dio, Iron Maiden, Judas Priest, Kiss, Led Zeppelin, the Michael Schenker Group, Montrose, Ozzy Osbourne (particularly the Randy Rhoads era), Samson, Saxon, Scorpions, The Sweet, Thin Lizzy, UFO (particularly the Michael Schenker era), Van Halen and Venom have been cited as an influence or inspiration behind Testament's music. The band's other musical influences include The Beatles, as well as guitar players like Jeff Beck, Chuck Berry, Jimi Hendrix, Yngwie Malmsteen, Frank Marino, Mahogany Rush, Pat Travers and Johnny Winter, and their Bay Area thrash metal contemporaries Metallica and Exodus.
Testament has influenced multiple bands, such as Pantera, Sepultura, Death Angel, Annihilator, White Zombie, Korn, Machine Head, Drowning Pool, Kataklysm, Lamb of God, Morbid Angel, Cannibal Corpse, Entombed, Gojira, Killswitch Engage, Exhorder, Havok, Evile, Blind Guardian, Sevendust, Suicidal Angels, Trivium, Nightwish, Shadows Fall, Terror, Unearth, Skeletonwitch, Warbringer, Primal Fear, Fight, Sons of Texas, Incite, Demolition Hammer, and Forced Entry.
In the video for Bowling for Soup's "Punk Rock 101", guitarist and vocalist Jaret Reddick can be seen wearing one of Testament's t-shirts.
Members
Current members
Eric Peterson – lead and rhythm guitar, backing vocals
Chuck Billy – lead vocals
Alex Skolnick – lead guitar, backing vocals
Steve Di Giorgio – bass , backing vocals
Discography
The Legacy (1987)
The New Order (1988)
Practice What You Preach (1989)
Souls of Black (1990)
The Ritual (1992)
Low (1994)
Demonic (1997)
The Gathering (1999)
First Strike Still Deadly (2001)
The Formation of Damnation (2008)
Dark Roots of Earth (2012)
Brotherhood of the Snake (2016)
Titans of Creation (2020)
References
External links
1983 establishments in California
Musical groups established in 1983
Musical groups from Berkeley, California
Musical quintets
Nuclear Blast artists
Thrash metal musical groups from California
| false |
[
"My So-Called Life is the second and final album by the Chicago-based nu metal music group From Zero. The album was released on May 6, 2003 via Arista Records. Due to a lack of promotion by Arista Records, poor reviews, and general changes in mainstream music tastes, the album did not sell many copies. The album features a cover of Phil Collins' \"I Don't Care Anymore\".\n\nTrack listing\n\nPersonnel\nJett – vocals, bass\nPete Capizzi – guitar, backing vocals\nJoe Pettinato – guitar\nKid – drums\n\nReferences\n\n2003 albums\nFrom Zero albums\nArista Records albums",
"is the third studio album and debut major Japanese release by South Korean girl group Kara. It was released on November 24, 2010 in four editions: CD+DVD, CD+Photobook (28-pages), CD-Only First Press coming with Korean versions of the songs \"Sweet Days\", \"Love Is\", and \"Binks\" and a CD-Only Normal Press coming with no bonus tracks. The album has topped the Oricon Weekly Album Charts several times and was eventually certified as Double Platinum by the RIAJ.\n\nComposition \nThe album contains two original Japanese songs. There are five songs that were included on the group's fourth Korean mini-album Jumping (2010) including \"Sweet Days\" which was titled \"With\" on the mini-album and the second single Jumping. There are two songs which was previously released in Korean on their third mini-album Lupin (2010) and these are \"Lupin\" and \"Umbrella\". The debut single, Mister was previously released in Korean on their second studio album Revolution (2009).\n\nChart performance \n\nGirl's Talk had sold over 107,000 copies which placed on number 2 at the Oricon Weekly Album charts, behind Hikaru Utada's Utada Hikaru Single Collection Vol. 2, which sold over 231,000 copies in the same week. This is the first time in 6 years and 9 months for a foreign Asian girl group to sell over 100,000 copies on its first week in Japan since Twelve Girls Band did back in March 2004 with the release of their album Kikō: Shining Energy. The album's first week sales doubles that of Kara Best 2007–2010 first week sales (51,000 copies) which was released back in September.\n\nThe album spent 14 weeks in the Top 10 spot of the Oricon Weekly Album charts. It was eventually certified Platinum by the RIAJ. On February 12, 2011, the album eventually peaked at number one after spending over 12 weeks in the charts, making it their first number-one album. The album managed to sell over 300,000 copies making them the first foreign female group to sell over 300,000 copies since Destiny's Child's #1's (2005). On November 18, 2011, it was announced that the album had already sold over 500,000 copies.\n\nTrack listings\n\nCharts\n\nOricon\n\nSingles and other songs charted\n\nCertifications\n\nSources \n\n2010 albums\nDance-pop albums by South Korean artists\nKara (South Korean band) albums\nUniversal Records albums\nJapanese-language albums"
] |
[
"Testament (band)",
"Dark Roots of Earth (2010-2013)",
"Was Dark Roots of Earth an album title?",
"it was announced that the tenth Testament studio album would be called Dark Roots of Earth,",
"How many copies did it sell?",
"I don't know."
] |
C_142a9f599b2f4ca58d11f9c759a730fa_0
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What was one of the most famous hits on it?
| 3 |
What was one of the most famous hits on Dark Roots of Earth?
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Testament (band)
|
As early as 2009, Testament commenced writing new material for their tenth album. In an interview with Metalheadz, guitarist Eric Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, frontman Chuck Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On 18 May 2011, guitarist Alex Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's plus] new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Drummer Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band tours to support the album. Gene Hoglan, who played drums on the band's 1997 album Demonic, filled in for Bostaph. It was also reported that Lamb of God drummer Chris Adler would make a special guest appearance on a couple of bonus tracks. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth, which, after many delays, was released on July 27, 2012. Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date. Prior to the album's release, the band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. It was announced on 1 December 2011 that Paul Bostaph had left Testament. Gene Hoglan recorded the drum tracks for Dark Roots of Earth and continues to play live with the band. In interviews, Testament have expressed pleasure in Hoglan's playing, and hope that he would continue playing with the band for the foreseeable future. CANNOTANSWER
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CANNOTANSWER
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Testament is an American thrash metal band from Berkeley, California. Formed in 1983 under the name Legacy, the band's current lineup comprises rhythm guitarist Eric Peterson, lead vocalist Chuck Billy, lead guitarist Alex Skolnick and bassist Steve Di Giorgio. Testament has experienced many lineup changes over the years, with Peterson being the only remaining original member, though they have since been rejoined by one of its songwriters Skolnick, who was out of the band from 1992 to 2005. Billy has been a member of Testament since 1986, when he replaced original singer Steve "Zetro" Souza, who had joined Exodus as the replacement of Paul Baloff. He and Peterson are the only members to appear on all of Testament's studio albums, with the latter being the only constant member overall.
Labeled as one of the "big six" of the 1980s Bay Area thrash metal scene (along with Exodus, Death Angel, Lååz Rockit, Forbidden and Vio-lence), Testament is often credited as one of the most popular and influential bands of the thrash metal scene, as well as one of the leaders of the second wave of the genre in the late 1980s. They have also been referred to as one of the "big eight" of thrash metal, along with Metallica, Megadeth, Slayer, Anthrax, Exodus, Overkill and Death Angel. The band has sold over 1.4 million albums in the United States since the beginning of the SoundScan era and over 14 million copies worldwide. To date, Testament has released thirteen studio albums (one of which is a collection of re-recorded songs), four live albums, five compilation albums, twelve singles and three DVDs.
After signing to Atlantic Records in 1986, and changing their name from Legacy to Testament, they released their debut album The Legacy in 1987, followed a year later by The New Order (1988); both albums were acclaimed by critics and the press, including heavy metal-related publications. The band achieved mainstream popularity with its third album Practice What You Preach (1989), which was Testament's first album to climb up the Top 100 on the Billboard 200 chart. A string of more successful albums were released during the early-to-mid-1990s, including Souls of Black (1990), The Ritual (1992) and Low (1994), with the first two also entering the Top 100 on the Billboard 200 chart. After Atlantic dropped the band in 1995, Testament (who had at this point had begun to experiment with a death metal-influenced sound) continued to record and perform until their temporary hiatus in 2001, when Billy was diagnosed with cancer. By 2005, his cancer was in remission and Testament had resumed activity, which briefly saw a reunion of The Legacy lineup and member changes in the interim. Since Skolnick's return to the band, Testament has experienced a resurgence of popularity, with two of their studio albums—Dark Roots of Earth (2012) and Brotherhood of the Snake (2016)—entering the Top 20 on the Billboard 200, and they have continued to tour consistently. The band released their latest studio album, Titans of Creation, on April 3, 2020. They are working on new material for their next studio album as of 2021.
History
Early years and first two albums (1983–1989)
The band was formed in the San Francisco Bay Area in 1983 under the name Legacy by guitarist Eric Peterson and his cousin, guitarist Derrick Ramirez. They soon added drummer Louie Clemente, vocalist Steve Souza and bassist Greg Christian and began playing club shows with bands such as Slayer, Lȧȧz Rockit, Death Angel and others. Clemente left the band in 1985 and was replaced by drummer Mike Ronchette. Derrick Ramirez departed soon after and young guitarist Alex Skolnick, who had studied under Bay Area guitarist Joe Satriani, was brought into the band. Legacy had been writing original material since forming and released a self-titled, four-song demo in 1985. Steve Souza left the band in 1986 to join Exodus and was replaced by Chuck Billy at Souza's suggestion. Mike Ronchette also left the band, and former drummer Louie Clemente returned.
The band was signed to Megaforce Records in 1986 on the strength of the demo tape. While recording their first album, the band was forced to change their name to Testament (which, according to Maria Ferrero in the May 2007 issue of Revolver, was suggested by Billy Milano of S.O.D. and M.O.D.), because the "Legacy" name was already trademarked by a hotel R&B cover band. Legacy played their last show prior to this name change at The Stone in San Francisco on March 4, 1987.
Testament's debut album, The Legacy, was released in April 1987 on Megaforce Records, and also distributed by Atlantic. They received instant fame within thrash circles and were often compared with fellow Bay Area thrash pioneers Metallica. Thanks to this, and the regular rotation of their first-ever music video "Over the Wall" on MTV's Headbangers Ball, the band quickly managed to increase their exposure by heading out on successful American and European tours with Anthrax, who were supporting their Among the Living album. On this tour, the Live at Eindhoven EP was recorded. Testament also opened for Slayer as well as their labelmates Overkill, and Megadeth on their Peace Sells... but Who's Buying? tour.
Testament's second album, The New Order, was released in May 1988, and found the band continuing in a similar vein. The album was a minor success, peaking at number 136 on the Billboard 200, but managed to sell over 250,000 copies on the strength of the airplay of "Trial by Fire" and the cover of Aerosmith's Nobody's Fault" (through radio and television), as well as relentless touring schedules. In support of The New Order, Testament opened for Megadeth on their So Far, So Good... So What! tour in Europe, and toured the United States with the likes of Overkill, Voivod, Death Angel, Vio-Lence, Nuclear Assault, Sanctuary, Raven, Forbidden and Heathen. They also made a number of festival appearances in the summer of 1988, such as Metalfest in Milwaukee, Aardschokdag in The Netherlands, and replaced Megadeth for some dates on the European Monsters of Rock tour, also featuring Iron Maiden, Kiss, David Lee Roth, Great White and Anthrax. By the time The New Order tour ended in early 1989, Testament had not only cemented their reputation as one of the most acclaimed thrash metal acts, but had also graduated to headlining their own shows.
Commercial breakthrough (1989–1992)
Testament released their third studio album, Practice What You Preach, in August 1989. The album minimized the occult and gothic themes found in the lyrical content of their first two albums, instead focusing on real-life issues such as politics and corruption, and while staying true to its thrash metal roots, it saw the band drawing influences from traditional heavy metal, jazz fusion and progressive/technical metal. Practice What You Preach was a commercial breakthrough for Testament, reaching at number 77 on the Billboard 200, and it was accompanied by three singles (the title track, "The Ballad" and "Greenhouse Effect") that received significant airplay from AOR radio stations and MTV's Headbangers Ball, further helping raise the band's profile. Testament toured for almost a year behind Practice What You Preach with several bands, including Overkill, Annihilator, Wrathchild America, Mortal Sin, Xentrix, Nuclear Assault, Savatage, Flotsam and Jetsam, Mordred, Dark Angel and a then-relatively unknown Primus. Despite selling over 450,000 copies, the album has never been certified gold by the RIAA.
In October 1990, Testament released their fourth studio album Souls of Black. Although reviews were mixed, the album managed to sell respectably, in no doubt largely off the strength of the single title track, and saw the band perform on arena tours, including the European Clash of the Titans tour with Megadeth, Slayer and Suicidal Tendencies. Testament supported Souls of Black with two North American tours, opening for Judas Priest on their Painkiller tour from October to December 1990, and Slayer on their Seasons in the Abyss tour from January to March 1991. They also toured Japan, and played shows with Anthrax and Sepultura. Shortly after completing the Souls of Black tour, the band released their first VHS documentary Seen Between the Lines, containing live clips recorded during the Souls of Black world tour, four promotional music videos and video interview segments.
Attempting to reconnect with an audience distracted by the growing grunge movement, Testament released The Ritual in 1992. Recorded at One on One Recording in Los Angeles under producer Tony Platt, it saw a stylistic move away from thrash to a slower, slightly more traditional heavy metal sound, and a somewhat more progressive atmosphere, with the title track being the longest song Testament had recorded up to this point. Drummer Louie Clemente acknowledged this musical change in a 1992 interview with Deseret News, explaining, "The Ritual is slower and geared toward the old style of metal while The Legacy was pure thrash. In fact, every release has been different. We've progressed naturally." Clemente said in the same interview that Platt's involvement within the album helped Testament "get more of a vibe." The Ritual peaked at 55 on the Billboard 200, the band's highest chart position at the time, and the power ballad "Return to Serenity" managed to receive radio airplay, peaking at number 22. Despite selling more than 485,000 copies in the United States, the album has never received gold certification. In support of The Ritual, Testament toured Europe and North America, headlining their own tours, as well as opening for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour. However, the success of the album did not put an end to the tensions within the band.
Transitional period (1992–2004)
For the remainder of the 1990s, Testament had undergone a series of changes in its lineup, as well as a change of pace in its musical style. The first member of The Legacy-era lineup to leave the band was lead guitarist Alex Skolnick, who performed his last show with them on Halloween 1992. Skolnick has stated that one of the reasons he left Testament was because he wanted to expand his musical horizons rather than continuing to play thrash metal music. A few months later, drummer Louie Clemente left the band.
Skolnick and Clemente were temporarily replaced by Forbidden members Glen Alvelais and Paul Bostaph, respectively. This lineup released the 1993 live EP, Return to the Apocalyptic City. Soon after, Alvelais quit the band and Paul Bostaph departed to join Slayer. Their next album, Low (1994), featured John Tempesta on drums and death metal guitarist James Murphy, formerly of Death, Cancer, and Obituary. Low was a diverse album, featuring various influences such as alternative, hard rock, death metal, groove metal, progressive, and as well as a ballad, "Trail of Tears". The band's remaining fans reacted favorably to the album, although it did little to expand Testament's fanbase. Some fans, however, viewed Testament's move away from the mainstream as a liberation that allowed them to expand artistically, not being pressured by sales and success as they once were. Despite the fact that the album charted lower than the band's previous three albums on the Billboard 200 at number 122, its title track "Low" received decent airplay from Headbangers Ball on MTV and the Los Angeles-based radio station KNAC, just before both outlets went off the air in early 1995. Testament toured for over a year in support of Low, playing with numerous acts such as Machine Head, Downset., Korn, Forbidden, Kreator, At the Gates, Moonspell, Crowbar, Suffocation and Gorefest. Their first full-length live album Live at the Fillmore, released in the summer of 1995, was recorded during this tour and marked their first release since they ended their eight-and-a-half-year tenure with Atlantic Records.
Tempesta left Testament after the recording of Low to join White Zombie, being replaced by Jon Dette for the following tour, though the latter would leave the band in 1995. Dette's replacement was Chris Kontos, who had formerly been part of Machine Head. This lineup is featured on the Judas Priest cover Rapid Fire. After the 1996 club tour, Greg Christian, James Murphy, and Chris Kontos departed the band. During the time Kontos was in Testament he suggested the band drop the name altogether and call the band "Dog Faced Gods". This idea was turned down by Billy and Peterson who wanted to continue with the Testament name. The two later temporarily disbanded Testament.
The band's follow-up album, Demonic, released June 1997, took a new approach, and found Testament experimenting with death metal more. The album featured Eric Peterson on both lead and rhythm guitar (although Glen Alvelais made a guest appearance, and played on the subsequent tour), early member Derrick Ramirez on bass guitar, and former Dark Angel drummer Gene Hoglan. Hoglan left before the Demonic tour to join Strapping Young Lad, with Steve Jacobs doing the South American leg of the tour and Jon Dette returning later. Hoglan's loyalty to Strapping Young Lad and his desire to not remain a member of Testament actually came to realization during a published interview the band conducted with Metal Maniacs Magazine.
By 1998, Ramirez, Alvelais and Dette had departed and James Murphy had returned for the June 1999 release of The Gathering. The rhythm section on The Gathering was highly respected, consisting of metal fretless bass pioneer Steve Di Giorgio (formerly of Death and Sadus) and original Slayer drummer Dave Lombardo. The sound of the album was largely a combination of death metal and thrash metal, with a minor black metal influence from Eric Peterson's side project, Dragonlord.
Soon after the release of The Gathering, lead guitarist James Murphy was diagnosed with a brain tumor. Through various fundraisers, Murphy was able to afford surgery and eventually made a full recovery, but was unable to recall anything from the recording of The Gathering. In 2001, Chuck Billy was also diagnosed with germ cell seminoma, a rare form of testicular cancer, but it only affected Billy's lungs and heart. His cancer was also treated successfully. In August 2001, friends of Billy organized the Thrash of the Titans benefit concert, featuring seminal Bay Area thrash metal bands Vio-lence, Death Angel, Exodus, Forbidden, Sadus and Heathen, as well as Anthrax, S.O.D. and Flotsam and Jetsam. The show was headlined by a Legacy reunion, featuring Steve Souza on vocals, and former guitarist Alex Skolnick, who had not played with the band since 1992, and bassist Greg Christian. Late in 2001, Testament released First Strike Still Deadly, a collection of re-recordings (with modern studio technology) of songs from their first two albums. The album featured the lineup of Billy, Peterson, Di Giorgio, the return of Alex Skolnick on guitar, and John Tempesta on drums.
By 2003, Chuck Billy had made a full recovery, and the band began performing live again with a new drummer, Jon Allen of Sadus. In 2004, the band changed their lineup once again for their summer festival appearances. Jon Allen was replaced by Paul Bostaph, returning to the band for a second stint after a decade's absence. Lead guitarist Steve Smyth departed to join Nevermore and was replaced by ex-Halford guitarist "Metal" Mike Chlasciak. Shortly after Steve Smyth's departure, Eric Peterson fell down a flight of stairs, breaking his leg, and was unavailable for some dates. He was temporarily replaced by Steve Smyth.
Reunion of classic lineup and The Formation of Damnation (2005–2010)
In May 2005, it was announced that Testament would be doing a brief Europe-only reunion tour – known as the "10 Days in May Tour" – featuring the classic lineup of Billy, Peterson, Skolnick and Christian, with drum duties shared between John Tempesta and Louie Clemente. After the success of the initial tour dates, Testament announced more dates in the U.S., Europe, and Japan with the classic lineup. Later that year, Skolnick also toured the East Coast with Trans-Siberian Orchestra. The band went on to release a live DVD and CD from the tour entitled Live in London. In interviews on the DVD, Eric Peterson expressed his desire to record the follow-up to The Gathering with the classic Testament lineup. He also stated that Alex Skolnick had begun writing songs for the new album. Chuck Billy was very vocal about how happy he was to have Alex, Greg, Louie, and John Tempesta in the band once again, and hoped to maintain a stable lineup going forward. Also in 2005, Testament's long-out of print documentary Seen Between the Lines was released on DVD for the first time.
Testament played for the first time in the Middle East at the Dubai Desert Rock festival in March 2006. Other notable bands that performed for the Desert Rock Festival were Iron Maiden, Megadeth, Reel Big Fish and 3 Doors Down.
In July 2007, the band played a show at Jaxx Nightclub in Springfield, Virginia, with Paul Bostaph filling in on drum duties. It was later confirmed that Bostaph would be officially returning to the band to record the new album. The band debuted a new song at that show titled "The Afterlife", which they also played at Earthshaker Fest.
In February 2008, the band released the song "More Than Meets the Eye" from the new album on their Myspace page.
In April 2008, Testament was confirmed for Ozzy Osbourne's Monsters of Rock festival to take place on July 26, 2008, in Calgary, Alberta, Canada.
Testament released their first studio album in nine years, The Formation of Damnation, on April 29, 2008, through Nuclear Blast Records. It was the first Testament album to feature Alex Skolnick on guitar since 1992's The Ritual, and the first to feature bassist Greg Christian since 1994's Low.
The band was confirmed to be the main event on the first day of the "Gillmanfest," a rock festival to be held on May 24, 2008, in Valencia, Venezuela, visiting Colombia for the second time in the band's extensive career. In June 2008, Testament headlined the 3rd stage at Download Festival, held at Donington Park, UK. The band also toured the US as a supporting act for Judas Priest, Heaven & Hell, and Motörhead on the "Metal Masters Tour". The band announced that they had recruited guitarist Glen Drover (ex-Megadeth and King Diamond) to fill in on their upcoming Mexican tour dates with Judas Priest, due to Alex Skolnick's prior commitment to the Trans-Siberian Orchestra.
Testament would embark on the "Priest Feast" European tour with headliners Judas Priest and Megadeth in February and March 2009. On March 25, 2009, Testament played a special one-off show at the O2 Islington Academy in London, where they performed their first two albums (The Legacy and The New Order) back-to-back, with British thrash band Sylosis in support. Also in 2009, Testament set out on a 6-week tour across the US to promote The Formation of Damnation, touring with Unearth and Lazarus A.D. In early 2010, Testament toured the United States with Megadeth and Exodus. Alex Skolnick did not participate in the tour due to previous obligations and Glen Drover again filled in for him. In the summer of 2010, the band toured Australia, and supported Megadeth and Slayer on the American Carnage Tour. Testament also headlined for the first time in the Philippines for the annual Pulp Summer Slam on April 17, 2010 with heavy metal band Lamb of God.
Dark Roots of Earth (2010–2013)
As early as 2009, Testament started writing new material for their tenth album. In an interview with Metalheadz, Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On May 18, 2011, Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's] plus new ones we wrote today. Planning one more, then we've got more than we need."
Testament began recording their tenth studio album on June 20, 2011. Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band began touring to support the album. Bostaph was replaced by Gene Hoglan, who had played drums with Testament on their 1997 album Demonic.
Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames.
The band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. John Tempesta filled in for Bostaph on the tour. It was announced on December 1, 2011 that Paul Bostaph had left Testament. Gene Hoglan, who had recorded the drum tracks for the new album, was brought back after the band had expressed pleasure in his playing, hoping that he would continue with the band for the foreseeable future.
After many delays, the band's tenth studio album Dark Roots of Earth was released on July 27, 2012. The album debuted at No. 12 on the Billboard 200, their highest chart position to date. Lamb of God drummer Chris Adler made a guest appearance on the bonus track "A Day in the Death".
Dark Roots of Thrash and Brotherhood of the Snake (2013–2019)
In August 2012, Peterson stated that Testament would record an eleventh studio album if Dark Roots of Earth did well. A week prior to the release of Dark Roots of Earth, Billy promised that Testament would not take "huge gaps" between albums anymore, and would "work hard and tour for two years or so," and try to release another album when they could. Hoglan had also said that he would "absolutely dig" to be a part of the writing of the next Testament album.
On September 13, 2013, Billy told Rock Overdose that from January to April 2014, Testament would be writing and recording their eleventh studio album for a 2014 release. Testament released a live DVD/double album Dark Roots of Thrash on October 15, 2013. The release documents the band's sold-out headlining performance at the Paramount in Huntington, New York, in February 2013.
In January 2014, bassist Greg Christian left Testament again, and was replaced by a returning Steve Di Giorgio. Christian has claimed that the reasons behind his departure were because of money disputes and differences with the band.
When asked in an April 2015 interview about Testament's plans to begin recording their twelfth album, Peterson said that his "main goal" was to "get home [from tour] in June, finish it up and get in the studio by September." Billy also said that the band's goal was to have the album finished by Thanksgiving. Slovenian bassist Tilen Hudrap (Pestilence, Vicious Rumors, Paradox, Thraw) and Bay Area drummer Alex Bent (Arkaik, Dragonlord, Decrepit Birth, Battlecross) filled in for Di Giorgio and Hoglan respectively at the prestigious Canadian open-air festival Heavy Montreal in August 2015, which was attended by more than 70,000 spectators.
In May 2016, Billy confirmed their twelfth album would be entitled Brotherhood of the Snake. Of the album's lyrical content, he commented, "The Brotherhood of the Snake was actually a society about 6,000 years ago that debarred all religions. It was just a fascinating topic that caught our eye and attention and spawned a lot of songs. We're going with that vibe. There will be some songs that deviate, but the majority will be around that and aliens and religion. Then I'll probably tap into my native heritage and write some songs about that. It's not just going to be one concept, but there is some interesting stuff that we're finding to write about." Brotherhood of the Snake was released on October 28, 2016, and received generally positive reviews from critics, and scored Testament their second-highest chart position on the Billboard 200, peaking at number twenty. Shortly after its release, Testament embarked on an international tour with Amon Amarth, and toured North America in April–May 2017 with Sepultura, Prong, Infernal Tenebra and Dying Gorgeous Lies. The band also toured Europe with Annihilator and Death Angel in November and December 2017, and again in March and April 2018, with Annihilator and Vader supporting. Along with Anthrax, Lamb of God, Behemoth and Napalm Death, Testament opened for Slayer on their final North American tour, which took place in the spring and summer of 2018. Testament also performed at Megadeth's first-ever cruise called Megacruise in October 2019.
Titans of Creation and planned fourteenth studio album (2019–present)
By March 2017, Testament had begun writing the follow-up to Brotherhood of the Snake, with plans to release it in 2018. Billy stated in March 2018 that Testament would start working on their thirteenth studio album after they finish touring in support of Brotherhood of the Snake in August, hoping not to repeat the four-year gaps between their last three albums. He later stated that opening for Slayer on their farewell tour would be "the final lap for [them] touring" in support of Brotherhood of the Snake. Work on the follow-up album began in February 2019, and pre-production began in May with Andy Sneap as the mixer. Drummer Gene Hoglan revealed in a June 2019 interview on the "Talk Toomey" podcast that the band had finished recording the album for a 2019 or early 2020 release. Peterson later stated that it would be released in January 2020.
The band, along with Exodus and Death Angel, took part in The Bay Strikes Back tour of Europe in February and March 2020. Following the tour, Chuck Billy and his wife Tiffany tested positive for COVID-19, making him the third person to have contracted the virus during the tour following Will Carroll of Death Angel and Gary Holt of Exodus. Bassist Steve Di Giorgio was later diagnosed with COVID-19, becoming the second member of Testament to have tested positive for the condition.
Testament released their thirteenth studio album Titans of Creation on April 3, 2020. They were due to headline a US tour to promote the album, with support provided by The Black Dahlia Murder, Municipal Waste and Meshiaak, but it was postponed due to the COVID-19 pandemic. For this reason, Testament did not tour in support of Titans of Creation for over a-year-and-a-half; touring for the album was scheduled to start in the fall of 2021, with the band resuming their Bay Strikes Back tour in the US with Exodus and Death Angel, but the COVID pandemic led to its postponement to the spring of 2022. Following this will be summer European tour, which will include festival appearances, as well as headlining dates with Exodus, Death Angel and Heathen, and one with Sepultura.
In a May 2020 interview with Exodus and former Legacy frontman Steve "Zetro" Souza on his "Toxic Vault" video channel, Billy was asked if he was going to write another Testament album during the COVID-19 pandemic. His response was, "We're not writing a record yet. I won't release what we're doing, but we are gonna write some stuff. Just to do something, not a record but maybe something just to have some singles." In a July 2020 interview with Australia's Riff Crew, Billy commented on his take on the possibility of writing another Testament album during the pandemic, saying, "Well, if it is truly, as someone says, a two-year period, of course, we're gonna go write another record, and when it all settles, we'll have two records… And if it had to be that long, then, yeah, we would probably consider just writing another record." Peterson reiterated Billy's comments in September 2020 that the band could work on new material before they tour to support Titans of Creation. In a March 2021 interview on Alive & Streaming, an internet podcast hosted by Death Angel guitarist Ted Aguilar, Billy confirmed that Peterson has been writing new material for what could result in the next Testament album.
On January 21, 2022, the band and longtime drummer Gene Hoglan announced on their respective social media accounts that he had once again left Testament to pursue "an exciting new chapter of [his] career and free agency, with all that it will entail."
Legacy and influence
Inspired by the new wave of British heavy metal and local Bay Area music scenes, Testament has been credited as one of the leaders of the second wave of thrash metal in the late 1980s, as well as one of the most influential Bay Area thrash metal acts. AllMusic described them as "one of the first thrash acts to emerge from the Bay Area in Metallica's wake during the '80s."
Numerous hard rock and heavy metal acts such as Aerosmith, AC/DC, Angel Witch, Black Sabbath, Boston, Deep Purple, Def Leppard, Dio, Iron Maiden, Judas Priest, Kiss, Led Zeppelin, the Michael Schenker Group, Montrose, Ozzy Osbourne (particularly the Randy Rhoads era), Samson, Saxon, Scorpions, The Sweet, Thin Lizzy, UFO (particularly the Michael Schenker era), Van Halen and Venom have been cited as an influence or inspiration behind Testament's music. The band's other musical influences include The Beatles, as well as guitar players like Jeff Beck, Chuck Berry, Jimi Hendrix, Yngwie Malmsteen, Frank Marino, Mahogany Rush, Pat Travers and Johnny Winter, and their Bay Area thrash metal contemporaries Metallica and Exodus.
Testament has influenced multiple bands, such as Pantera, Sepultura, Death Angel, Annihilator, White Zombie, Korn, Machine Head, Drowning Pool, Kataklysm, Lamb of God, Morbid Angel, Cannibal Corpse, Entombed, Gojira, Killswitch Engage, Exhorder, Havok, Evile, Blind Guardian, Sevendust, Suicidal Angels, Trivium, Nightwish, Shadows Fall, Terror, Unearth, Skeletonwitch, Warbringer, Primal Fear, Fight, Sons of Texas, Incite, Demolition Hammer, and Forced Entry.
In the video for Bowling for Soup's "Punk Rock 101", guitarist and vocalist Jaret Reddick can be seen wearing one of Testament's t-shirts.
Members
Current members
Eric Peterson – lead and rhythm guitar, backing vocals
Chuck Billy – lead vocals
Alex Skolnick – lead guitar, backing vocals
Steve Di Giorgio – bass , backing vocals
Discography
The Legacy (1987)
The New Order (1988)
Practice What You Preach (1989)
Souls of Black (1990)
The Ritual (1992)
Low (1994)
Demonic (1997)
The Gathering (1999)
First Strike Still Deadly (2001)
The Formation of Damnation (2008)
Dark Roots of Earth (2012)
Brotherhood of the Snake (2016)
Titans of Creation (2020)
References
External links
1983 establishments in California
Musical groups established in 1983
Musical groups from Berkeley, California
Musical quintets
Nuclear Blast artists
Thrash metal musical groups from California
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[
"Greatest Hits is a compilation album by Icelandic musician and singer Björk, released on 8 November 2002 through One Little Indian. Although not all of Björk's singles are included on this collection, all of the songs on Greatest Hits were released as singles. The tracks were selected by fans through a survey on Björk's website. Greatest Hits presents the songs in descending order of most-popular votes, with the exception of \"It's In Our Hands\" which was a new song and appears at the end of the compilation.\n\nInformation\nThere were two online surveys preceding the release of Greatest Hits. The survey that gave the track list was one where fans voted for their favourite singles. Another one was conducted simultaneously where fans could vote for their favourite of all her songs, album tracks as well as B-sides. This sometimes is the cause for some confusion about the authenticity of the fan-selected track list concept because the results from the single-track survey does not always match with the overall survey. For example, \"Hyperballad\" was the song receiving most votes from Björk fans on the overall survey, but appears as the second track on Greatest Hits. The results of both surveys can be seen on Björk's website.\n\nSeveral of the songs are presented in their radio (or single) remixed forms, most notably \"Big Time Sensuality\" (the Fluke version featured in the promotional video, and not the shorter \"Minimix\" as featured on the single). \"Possibly Maybe\" includes the famous electronic sounds that were temporarily deleted off the Post version of the track, and \"All Is Full of Love\" is presented in its single version.\n\nAs with many greatest hits compilation albums, some of Björk's biggest singles were absent. The most obvious omission is \"It's Oh So Quiet\", her highest-charting UK hit. Also missing are \"Alarm Call\", \"I Miss You\", \"Cocoon\" and \"Violently Happy\" as well as any pre-Debut material.\n\nThe tracks \"Human Behaviour\", \"Big Time Sensuality\", and \"Venus as a Boy\" are taken from Björk's 1993 album Debut. \"Play Dead\" was originally released on the Young Americans movie soundtrack (1993) but was included on some editions of Debut.\n\n\"Hyperballad\", \"Army of Me\", \"Isobel\", and \"Possibly Maybe\" are from the 1995 Post album. \"All Is Full of Love\", \"Jóga\", \"Bachelorette\", and \"Hunter\" are from her 1997 Homogenic album. Finally, \"Pagan Poetry\" and \"Hidden Place\" are found on her 2001 Vespertine album.\n\nThe artwork on the CD was produced in collaboration with Icelandic contemporary artist Gabríela Fridriksdóttir. It is the only one of Björk's album covers that includes both a logo and a title.\n\nGreatest Hits was released on the same day as Björk's Family Tree box set, which contained a \"greatest hits\" disc on which the songs were chosen by Björk. Greatest Hits and the greatest hits \"as chosen by Björk\" have seven tracks in common.\n\nThe Greatest Hits album was also listed on Blender magazine's \"500 CDs You Must Own\".\n\nTrack listing\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nReferences\n\nExternal links\n Greatest Hits mini-website\n\n2002 greatest hits albums\nAlbums produced by Björk\nAlbums produced by Mark Bell (British musician)\nAlbums produced by Nellee Hooper\nBjörk albums\nOne Little Independent Records compilation albums",
"Now That's What I Call Classic Rock Hits is one of many genre-themed compilation albums from the Now! series in the United States, this one focusing on popular classic rock songs from the 1970s. It was released on May 1, 2012.\n\nTrack listing\n\nReception\n\nIn his review for Allmusic, Gregory Heaney says \"the Now series delivers a dose of good ol' classic rock with Now That's What I Call Classic Rock Hits,\" which \"gathers some of rock's most enduring crossover hits.\" Now That's What I Call Classic Rock Hits is \"an album that achieves its primary goal of being able to please most of the people most of the time with a wide-ranging selection of hits that should fit into most anyone's definition of classic rock.\"\n\nReferences\n\nExternal links\n Official U.S. Now That's What I Call Music website\n\n2012 compilation albums\nClassic Rock Hits\nEMI Records compilation albums"
] |
[
"Testament (band)",
"Dark Roots of Earth (2010-2013)",
"Was Dark Roots of Earth an album title?",
"it was announced that the tenth Testament studio album would be called Dark Roots of Earth,",
"How many copies did it sell?",
"I don't know.",
"What was one of the most famous hits on it?",
"I don't know."
] |
C_142a9f599b2f4ca58d11f9c759a730fa_0
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Was there anyone else they made music with for this album?
| 4 |
Was there anyone else that Testament made music with for Dark Roots of Earth besides themselves?
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Testament (band)
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As early as 2009, Testament commenced writing new material for their tenth album. In an interview with Metalheadz, guitarist Eric Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, frontman Chuck Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On 18 May 2011, guitarist Alex Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's plus] new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Drummer Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band tours to support the album. Gene Hoglan, who played drums on the band's 1997 album Demonic, filled in for Bostaph. It was also reported that Lamb of God drummer Chris Adler would make a special guest appearance on a couple of bonus tracks. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth, which, after many delays, was released on July 27, 2012. Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date. Prior to the album's release, the band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. It was announced on 1 December 2011 that Paul Bostaph had left Testament. Gene Hoglan recorded the drum tracks for Dark Roots of Earth and continues to play live with the band. In interviews, Testament have expressed pleasure in Hoglan's playing, and hope that he would continue playing with the band for the foreseeable future. CANNOTANSWER
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It was also reported that Lamb of God drummer Chris Adler would make a special guest appearance on a couple of bonus tracks.
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Testament is an American thrash metal band from Berkeley, California. Formed in 1983 under the name Legacy, the band's current lineup comprises rhythm guitarist Eric Peterson, lead vocalist Chuck Billy, lead guitarist Alex Skolnick and bassist Steve Di Giorgio. Testament has experienced many lineup changes over the years, with Peterson being the only remaining original member, though they have since been rejoined by one of its songwriters Skolnick, who was out of the band from 1992 to 2005. Billy has been a member of Testament since 1986, when he replaced original singer Steve "Zetro" Souza, who had joined Exodus as the replacement of Paul Baloff. He and Peterson are the only members to appear on all of Testament's studio albums, with the latter being the only constant member overall.
Labeled as one of the "big six" of the 1980s Bay Area thrash metal scene (along with Exodus, Death Angel, Lååz Rockit, Forbidden and Vio-lence), Testament is often credited as one of the most popular and influential bands of the thrash metal scene, as well as one of the leaders of the second wave of the genre in the late 1980s. They have also been referred to as one of the "big eight" of thrash metal, along with Metallica, Megadeth, Slayer, Anthrax, Exodus, Overkill and Death Angel. The band has sold over 1.4 million albums in the United States since the beginning of the SoundScan era and over 14 million copies worldwide. To date, Testament has released thirteen studio albums (one of which is a collection of re-recorded songs), four live albums, five compilation albums, twelve singles and three DVDs.
After signing to Atlantic Records in 1986, and changing their name from Legacy to Testament, they released their debut album The Legacy in 1987, followed a year later by The New Order (1988); both albums were acclaimed by critics and the press, including heavy metal-related publications. The band achieved mainstream popularity with its third album Practice What You Preach (1989), which was Testament's first album to climb up the Top 100 on the Billboard 200 chart. A string of more successful albums were released during the early-to-mid-1990s, including Souls of Black (1990), The Ritual (1992) and Low (1994), with the first two also entering the Top 100 on the Billboard 200 chart. After Atlantic dropped the band in 1995, Testament (who had at this point had begun to experiment with a death metal-influenced sound) continued to record and perform until their temporary hiatus in 2001, when Billy was diagnosed with cancer. By 2005, his cancer was in remission and Testament had resumed activity, which briefly saw a reunion of The Legacy lineup and member changes in the interim. Since Skolnick's return to the band, Testament has experienced a resurgence of popularity, with two of their studio albums—Dark Roots of Earth (2012) and Brotherhood of the Snake (2016)—entering the Top 20 on the Billboard 200, and they have continued to tour consistently. The band released their latest studio album, Titans of Creation, on April 3, 2020. They are working on new material for their next studio album as of 2021.
History
Early years and first two albums (1983–1989)
The band was formed in the San Francisco Bay Area in 1983 under the name Legacy by guitarist Eric Peterson and his cousin, guitarist Derrick Ramirez. They soon added drummer Louie Clemente, vocalist Steve Souza and bassist Greg Christian and began playing club shows with bands such as Slayer, Lȧȧz Rockit, Death Angel and others. Clemente left the band in 1985 and was replaced by drummer Mike Ronchette. Derrick Ramirez departed soon after and young guitarist Alex Skolnick, who had studied under Bay Area guitarist Joe Satriani, was brought into the band. Legacy had been writing original material since forming and released a self-titled, four-song demo in 1985. Steve Souza left the band in 1986 to join Exodus and was replaced by Chuck Billy at Souza's suggestion. Mike Ronchette also left the band, and former drummer Louie Clemente returned.
The band was signed to Megaforce Records in 1986 on the strength of the demo tape. While recording their first album, the band was forced to change their name to Testament (which, according to Maria Ferrero in the May 2007 issue of Revolver, was suggested by Billy Milano of S.O.D. and M.O.D.), because the "Legacy" name was already trademarked by a hotel R&B cover band. Legacy played their last show prior to this name change at The Stone in San Francisco on March 4, 1987.
Testament's debut album, The Legacy, was released in April 1987 on Megaforce Records, and also distributed by Atlantic. They received instant fame within thrash circles and were often compared with fellow Bay Area thrash pioneers Metallica. Thanks to this, and the regular rotation of their first-ever music video "Over the Wall" on MTV's Headbangers Ball, the band quickly managed to increase their exposure by heading out on successful American and European tours with Anthrax, who were supporting their Among the Living album. On this tour, the Live at Eindhoven EP was recorded. Testament also opened for Slayer as well as their labelmates Overkill, and Megadeth on their Peace Sells... but Who's Buying? tour.
Testament's second album, The New Order, was released in May 1988, and found the band continuing in a similar vein. The album was a minor success, peaking at number 136 on the Billboard 200, but managed to sell over 250,000 copies on the strength of the airplay of "Trial by Fire" and the cover of Aerosmith's Nobody's Fault" (through radio and television), as well as relentless touring schedules. In support of The New Order, Testament opened for Megadeth on their So Far, So Good... So What! tour in Europe, and toured the United States with the likes of Overkill, Voivod, Death Angel, Vio-Lence, Nuclear Assault, Sanctuary, Raven, Forbidden and Heathen. They also made a number of festival appearances in the summer of 1988, such as Metalfest in Milwaukee, Aardschokdag in The Netherlands, and replaced Megadeth for some dates on the European Monsters of Rock tour, also featuring Iron Maiden, Kiss, David Lee Roth, Great White and Anthrax. By the time The New Order tour ended in early 1989, Testament had not only cemented their reputation as one of the most acclaimed thrash metal acts, but had also graduated to headlining their own shows.
Commercial breakthrough (1989–1992)
Testament released their third studio album, Practice What You Preach, in August 1989. The album minimized the occult and gothic themes found in the lyrical content of their first two albums, instead focusing on real-life issues such as politics and corruption, and while staying true to its thrash metal roots, it saw the band drawing influences from traditional heavy metal, jazz fusion and progressive/technical metal. Practice What You Preach was a commercial breakthrough for Testament, reaching at number 77 on the Billboard 200, and it was accompanied by three singles (the title track, "The Ballad" and "Greenhouse Effect") that received significant airplay from AOR radio stations and MTV's Headbangers Ball, further helping raise the band's profile. Testament toured for almost a year behind Practice What You Preach with several bands, including Overkill, Annihilator, Wrathchild America, Mortal Sin, Xentrix, Nuclear Assault, Savatage, Flotsam and Jetsam, Mordred, Dark Angel and a then-relatively unknown Primus. Despite selling over 450,000 copies, the album has never been certified gold by the RIAA.
In October 1990, Testament released their fourth studio album Souls of Black. Although reviews were mixed, the album managed to sell respectably, in no doubt largely off the strength of the single title track, and saw the band perform on arena tours, including the European Clash of the Titans tour with Megadeth, Slayer and Suicidal Tendencies. Testament supported Souls of Black with two North American tours, opening for Judas Priest on their Painkiller tour from October to December 1990, and Slayer on their Seasons in the Abyss tour from January to March 1991. They also toured Japan, and played shows with Anthrax and Sepultura. Shortly after completing the Souls of Black tour, the band released their first VHS documentary Seen Between the Lines, containing live clips recorded during the Souls of Black world tour, four promotional music videos and video interview segments.
Attempting to reconnect with an audience distracted by the growing grunge movement, Testament released The Ritual in 1992. Recorded at One on One Recording in Los Angeles under producer Tony Platt, it saw a stylistic move away from thrash to a slower, slightly more traditional heavy metal sound, and a somewhat more progressive atmosphere, with the title track being the longest song Testament had recorded up to this point. Drummer Louie Clemente acknowledged this musical change in a 1992 interview with Deseret News, explaining, "The Ritual is slower and geared toward the old style of metal while The Legacy was pure thrash. In fact, every release has been different. We've progressed naturally." Clemente said in the same interview that Platt's involvement within the album helped Testament "get more of a vibe." The Ritual peaked at 55 on the Billboard 200, the band's highest chart position at the time, and the power ballad "Return to Serenity" managed to receive radio airplay, peaking at number 22. Despite selling more than 485,000 copies in the United States, the album has never received gold certification. In support of The Ritual, Testament toured Europe and North America, headlining their own tours, as well as opening for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour. However, the success of the album did not put an end to the tensions within the band.
Transitional period (1992–2004)
For the remainder of the 1990s, Testament had undergone a series of changes in its lineup, as well as a change of pace in its musical style. The first member of The Legacy-era lineup to leave the band was lead guitarist Alex Skolnick, who performed his last show with them on Halloween 1992. Skolnick has stated that one of the reasons he left Testament was because he wanted to expand his musical horizons rather than continuing to play thrash metal music. A few months later, drummer Louie Clemente left the band.
Skolnick and Clemente were temporarily replaced by Forbidden members Glen Alvelais and Paul Bostaph, respectively. This lineup released the 1993 live EP, Return to the Apocalyptic City. Soon after, Alvelais quit the band and Paul Bostaph departed to join Slayer. Their next album, Low (1994), featured John Tempesta on drums and death metal guitarist James Murphy, formerly of Death, Cancer, and Obituary. Low was a diverse album, featuring various influences such as alternative, hard rock, death metal, groove metal, progressive, and as well as a ballad, "Trail of Tears". The band's remaining fans reacted favorably to the album, although it did little to expand Testament's fanbase. Some fans, however, viewed Testament's move away from the mainstream as a liberation that allowed them to expand artistically, not being pressured by sales and success as they once were. Despite the fact that the album charted lower than the band's previous three albums on the Billboard 200 at number 122, its title track "Low" received decent airplay from Headbangers Ball on MTV and the Los Angeles-based radio station KNAC, just before both outlets went off the air in early 1995. Testament toured for over a year in support of Low, playing with numerous acts such as Machine Head, Downset., Korn, Forbidden, Kreator, At the Gates, Moonspell, Crowbar, Suffocation and Gorefest. Their first full-length live album Live at the Fillmore, released in the summer of 1995, was recorded during this tour and marked their first release since they ended their eight-and-a-half-year tenure with Atlantic Records.
Tempesta left Testament after the recording of Low to join White Zombie, being replaced by Jon Dette for the following tour, though the latter would leave the band in 1995. Dette's replacement was Chris Kontos, who had formerly been part of Machine Head. This lineup is featured on the Judas Priest cover Rapid Fire. After the 1996 club tour, Greg Christian, James Murphy, and Chris Kontos departed the band. During the time Kontos was in Testament he suggested the band drop the name altogether and call the band "Dog Faced Gods". This idea was turned down by Billy and Peterson who wanted to continue with the Testament name. The two later temporarily disbanded Testament.
The band's follow-up album, Demonic, released June 1997, took a new approach, and found Testament experimenting with death metal more. The album featured Eric Peterson on both lead and rhythm guitar (although Glen Alvelais made a guest appearance, and played on the subsequent tour), early member Derrick Ramirez on bass guitar, and former Dark Angel drummer Gene Hoglan. Hoglan left before the Demonic tour to join Strapping Young Lad, with Steve Jacobs doing the South American leg of the tour and Jon Dette returning later. Hoglan's loyalty to Strapping Young Lad and his desire to not remain a member of Testament actually came to realization during a published interview the band conducted with Metal Maniacs Magazine.
By 1998, Ramirez, Alvelais and Dette had departed and James Murphy had returned for the June 1999 release of The Gathering. The rhythm section on The Gathering was highly respected, consisting of metal fretless bass pioneer Steve Di Giorgio (formerly of Death and Sadus) and original Slayer drummer Dave Lombardo. The sound of the album was largely a combination of death metal and thrash metal, with a minor black metal influence from Eric Peterson's side project, Dragonlord.
Soon after the release of The Gathering, lead guitarist James Murphy was diagnosed with a brain tumor. Through various fundraisers, Murphy was able to afford surgery and eventually made a full recovery, but was unable to recall anything from the recording of The Gathering. In 2001, Chuck Billy was also diagnosed with germ cell seminoma, a rare form of testicular cancer, but it only affected Billy's lungs and heart. His cancer was also treated successfully. In August 2001, friends of Billy organized the Thrash of the Titans benefit concert, featuring seminal Bay Area thrash metal bands Vio-lence, Death Angel, Exodus, Forbidden, Sadus and Heathen, as well as Anthrax, S.O.D. and Flotsam and Jetsam. The show was headlined by a Legacy reunion, featuring Steve Souza on vocals, and former guitarist Alex Skolnick, who had not played with the band since 1992, and bassist Greg Christian. Late in 2001, Testament released First Strike Still Deadly, a collection of re-recordings (with modern studio technology) of songs from their first two albums. The album featured the lineup of Billy, Peterson, Di Giorgio, the return of Alex Skolnick on guitar, and John Tempesta on drums.
By 2003, Chuck Billy had made a full recovery, and the band began performing live again with a new drummer, Jon Allen of Sadus. In 2004, the band changed their lineup once again for their summer festival appearances. Jon Allen was replaced by Paul Bostaph, returning to the band for a second stint after a decade's absence. Lead guitarist Steve Smyth departed to join Nevermore and was replaced by ex-Halford guitarist "Metal" Mike Chlasciak. Shortly after Steve Smyth's departure, Eric Peterson fell down a flight of stairs, breaking his leg, and was unavailable for some dates. He was temporarily replaced by Steve Smyth.
Reunion of classic lineup and The Formation of Damnation (2005–2010)
In May 2005, it was announced that Testament would be doing a brief Europe-only reunion tour – known as the "10 Days in May Tour" – featuring the classic lineup of Billy, Peterson, Skolnick and Christian, with drum duties shared between John Tempesta and Louie Clemente. After the success of the initial tour dates, Testament announced more dates in the U.S., Europe, and Japan with the classic lineup. Later that year, Skolnick also toured the East Coast with Trans-Siberian Orchestra. The band went on to release a live DVD and CD from the tour entitled Live in London. In interviews on the DVD, Eric Peterson expressed his desire to record the follow-up to The Gathering with the classic Testament lineup. He also stated that Alex Skolnick had begun writing songs for the new album. Chuck Billy was very vocal about how happy he was to have Alex, Greg, Louie, and John Tempesta in the band once again, and hoped to maintain a stable lineup going forward. Also in 2005, Testament's long-out of print documentary Seen Between the Lines was released on DVD for the first time.
Testament played for the first time in the Middle East at the Dubai Desert Rock festival in March 2006. Other notable bands that performed for the Desert Rock Festival were Iron Maiden, Megadeth, Reel Big Fish and 3 Doors Down.
In July 2007, the band played a show at Jaxx Nightclub in Springfield, Virginia, with Paul Bostaph filling in on drum duties. It was later confirmed that Bostaph would be officially returning to the band to record the new album. The band debuted a new song at that show titled "The Afterlife", which they also played at Earthshaker Fest.
In February 2008, the band released the song "More Than Meets the Eye" from the new album on their Myspace page.
In April 2008, Testament was confirmed for Ozzy Osbourne's Monsters of Rock festival to take place on July 26, 2008, in Calgary, Alberta, Canada.
Testament released their first studio album in nine years, The Formation of Damnation, on April 29, 2008, through Nuclear Blast Records. It was the first Testament album to feature Alex Skolnick on guitar since 1992's The Ritual, and the first to feature bassist Greg Christian since 1994's Low.
The band was confirmed to be the main event on the first day of the "Gillmanfest," a rock festival to be held on May 24, 2008, in Valencia, Venezuela, visiting Colombia for the second time in the band's extensive career. In June 2008, Testament headlined the 3rd stage at Download Festival, held at Donington Park, UK. The band also toured the US as a supporting act for Judas Priest, Heaven & Hell, and Motörhead on the "Metal Masters Tour". The band announced that they had recruited guitarist Glen Drover (ex-Megadeth and King Diamond) to fill in on their upcoming Mexican tour dates with Judas Priest, due to Alex Skolnick's prior commitment to the Trans-Siberian Orchestra.
Testament would embark on the "Priest Feast" European tour with headliners Judas Priest and Megadeth in February and March 2009. On March 25, 2009, Testament played a special one-off show at the O2 Islington Academy in London, where they performed their first two albums (The Legacy and The New Order) back-to-back, with British thrash band Sylosis in support. Also in 2009, Testament set out on a 6-week tour across the US to promote The Formation of Damnation, touring with Unearth and Lazarus A.D. In early 2010, Testament toured the United States with Megadeth and Exodus. Alex Skolnick did not participate in the tour due to previous obligations and Glen Drover again filled in for him. In the summer of 2010, the band toured Australia, and supported Megadeth and Slayer on the American Carnage Tour. Testament also headlined for the first time in the Philippines for the annual Pulp Summer Slam on April 17, 2010 with heavy metal band Lamb of God.
Dark Roots of Earth (2010–2013)
As early as 2009, Testament started writing new material for their tenth album. In an interview with Metalheadz, Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On May 18, 2011, Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's] plus new ones we wrote today. Planning one more, then we've got more than we need."
Testament began recording their tenth studio album on June 20, 2011. Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band began touring to support the album. Bostaph was replaced by Gene Hoglan, who had played drums with Testament on their 1997 album Demonic.
Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames.
The band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. John Tempesta filled in for Bostaph on the tour. It was announced on December 1, 2011 that Paul Bostaph had left Testament. Gene Hoglan, who had recorded the drum tracks for the new album, was brought back after the band had expressed pleasure in his playing, hoping that he would continue with the band for the foreseeable future.
After many delays, the band's tenth studio album Dark Roots of Earth was released on July 27, 2012. The album debuted at No. 12 on the Billboard 200, their highest chart position to date. Lamb of God drummer Chris Adler made a guest appearance on the bonus track "A Day in the Death".
Dark Roots of Thrash and Brotherhood of the Snake (2013–2019)
In August 2012, Peterson stated that Testament would record an eleventh studio album if Dark Roots of Earth did well. A week prior to the release of Dark Roots of Earth, Billy promised that Testament would not take "huge gaps" between albums anymore, and would "work hard and tour for two years or so," and try to release another album when they could. Hoglan had also said that he would "absolutely dig" to be a part of the writing of the next Testament album.
On September 13, 2013, Billy told Rock Overdose that from January to April 2014, Testament would be writing and recording their eleventh studio album for a 2014 release. Testament released a live DVD/double album Dark Roots of Thrash on October 15, 2013. The release documents the band's sold-out headlining performance at the Paramount in Huntington, New York, in February 2013.
In January 2014, bassist Greg Christian left Testament again, and was replaced by a returning Steve Di Giorgio. Christian has claimed that the reasons behind his departure were because of money disputes and differences with the band.
When asked in an April 2015 interview about Testament's plans to begin recording their twelfth album, Peterson said that his "main goal" was to "get home [from tour] in June, finish it up and get in the studio by September." Billy also said that the band's goal was to have the album finished by Thanksgiving. Slovenian bassist Tilen Hudrap (Pestilence, Vicious Rumors, Paradox, Thraw) and Bay Area drummer Alex Bent (Arkaik, Dragonlord, Decrepit Birth, Battlecross) filled in for Di Giorgio and Hoglan respectively at the prestigious Canadian open-air festival Heavy Montreal in August 2015, which was attended by more than 70,000 spectators.
In May 2016, Billy confirmed their twelfth album would be entitled Brotherhood of the Snake. Of the album's lyrical content, he commented, "The Brotherhood of the Snake was actually a society about 6,000 years ago that debarred all religions. It was just a fascinating topic that caught our eye and attention and spawned a lot of songs. We're going with that vibe. There will be some songs that deviate, but the majority will be around that and aliens and religion. Then I'll probably tap into my native heritage and write some songs about that. It's not just going to be one concept, but there is some interesting stuff that we're finding to write about." Brotherhood of the Snake was released on October 28, 2016, and received generally positive reviews from critics, and scored Testament their second-highest chart position on the Billboard 200, peaking at number twenty. Shortly after its release, Testament embarked on an international tour with Amon Amarth, and toured North America in April–May 2017 with Sepultura, Prong, Infernal Tenebra and Dying Gorgeous Lies. The band also toured Europe with Annihilator and Death Angel in November and December 2017, and again in March and April 2018, with Annihilator and Vader supporting. Along with Anthrax, Lamb of God, Behemoth and Napalm Death, Testament opened for Slayer on their final North American tour, which took place in the spring and summer of 2018. Testament also performed at Megadeth's first-ever cruise called Megacruise in October 2019.
Titans of Creation and planned fourteenth studio album (2019–present)
By March 2017, Testament had begun writing the follow-up to Brotherhood of the Snake, with plans to release it in 2018. Billy stated in March 2018 that Testament would start working on their thirteenth studio album after they finish touring in support of Brotherhood of the Snake in August, hoping not to repeat the four-year gaps between their last three albums. He later stated that opening for Slayer on their farewell tour would be "the final lap for [them] touring" in support of Brotherhood of the Snake. Work on the follow-up album began in February 2019, and pre-production began in May with Andy Sneap as the mixer. Drummer Gene Hoglan revealed in a June 2019 interview on the "Talk Toomey" podcast that the band had finished recording the album for a 2019 or early 2020 release. Peterson later stated that it would be released in January 2020.
The band, along with Exodus and Death Angel, took part in The Bay Strikes Back tour of Europe in February and March 2020. Following the tour, Chuck Billy and his wife Tiffany tested positive for COVID-19, making him the third person to have contracted the virus during the tour following Will Carroll of Death Angel and Gary Holt of Exodus. Bassist Steve Di Giorgio was later diagnosed with COVID-19, becoming the second member of Testament to have tested positive for the condition.
Testament released their thirteenth studio album Titans of Creation on April 3, 2020. They were due to headline a US tour to promote the album, with support provided by The Black Dahlia Murder, Municipal Waste and Meshiaak, but it was postponed due to the COVID-19 pandemic. For this reason, Testament did not tour in support of Titans of Creation for over a-year-and-a-half; touring for the album was scheduled to start in the fall of 2021, with the band resuming their Bay Strikes Back tour in the US with Exodus and Death Angel, but the COVID pandemic led to its postponement to the spring of 2022. Following this will be summer European tour, which will include festival appearances, as well as headlining dates with Exodus, Death Angel and Heathen, and one with Sepultura.
In a May 2020 interview with Exodus and former Legacy frontman Steve "Zetro" Souza on his "Toxic Vault" video channel, Billy was asked if he was going to write another Testament album during the COVID-19 pandemic. His response was, "We're not writing a record yet. I won't release what we're doing, but we are gonna write some stuff. Just to do something, not a record but maybe something just to have some singles." In a July 2020 interview with Australia's Riff Crew, Billy commented on his take on the possibility of writing another Testament album during the pandemic, saying, "Well, if it is truly, as someone says, a two-year period, of course, we're gonna go write another record, and when it all settles, we'll have two records… And if it had to be that long, then, yeah, we would probably consider just writing another record." Peterson reiterated Billy's comments in September 2020 that the band could work on new material before they tour to support Titans of Creation. In a March 2021 interview on Alive & Streaming, an internet podcast hosted by Death Angel guitarist Ted Aguilar, Billy confirmed that Peterson has been writing new material for what could result in the next Testament album.
On January 21, 2022, the band and longtime drummer Gene Hoglan announced on their respective social media accounts that he had once again left Testament to pursue "an exciting new chapter of [his] career and free agency, with all that it will entail."
Legacy and influence
Inspired by the new wave of British heavy metal and local Bay Area music scenes, Testament has been credited as one of the leaders of the second wave of thrash metal in the late 1980s, as well as one of the most influential Bay Area thrash metal acts. AllMusic described them as "one of the first thrash acts to emerge from the Bay Area in Metallica's wake during the '80s."
Numerous hard rock and heavy metal acts such as Aerosmith, AC/DC, Angel Witch, Black Sabbath, Boston, Deep Purple, Def Leppard, Dio, Iron Maiden, Judas Priest, Kiss, Led Zeppelin, the Michael Schenker Group, Montrose, Ozzy Osbourne (particularly the Randy Rhoads era), Samson, Saxon, Scorpions, The Sweet, Thin Lizzy, UFO (particularly the Michael Schenker era), Van Halen and Venom have been cited as an influence or inspiration behind Testament's music. The band's other musical influences include The Beatles, as well as guitar players like Jeff Beck, Chuck Berry, Jimi Hendrix, Yngwie Malmsteen, Frank Marino, Mahogany Rush, Pat Travers and Johnny Winter, and their Bay Area thrash metal contemporaries Metallica and Exodus.
Testament has influenced multiple bands, such as Pantera, Sepultura, Death Angel, Annihilator, White Zombie, Korn, Machine Head, Drowning Pool, Kataklysm, Lamb of God, Morbid Angel, Cannibal Corpse, Entombed, Gojira, Killswitch Engage, Exhorder, Havok, Evile, Blind Guardian, Sevendust, Suicidal Angels, Trivium, Nightwish, Shadows Fall, Terror, Unearth, Skeletonwitch, Warbringer, Primal Fear, Fight, Sons of Texas, Incite, Demolition Hammer, and Forced Entry.
In the video for Bowling for Soup's "Punk Rock 101", guitarist and vocalist Jaret Reddick can be seen wearing one of Testament's t-shirts.
Members
Current members
Eric Peterson – lead and rhythm guitar, backing vocals
Chuck Billy – lead vocals
Alex Skolnick – lead guitar, backing vocals
Steve Di Giorgio – bass , backing vocals
Discography
The Legacy (1987)
The New Order (1988)
Practice What You Preach (1989)
Souls of Black (1990)
The Ritual (1992)
Low (1994)
Demonic (1997)
The Gathering (1999)
First Strike Still Deadly (2001)
The Formation of Damnation (2008)
Dark Roots of Earth (2012)
Brotherhood of the Snake (2016)
Titans of Creation (2020)
References
External links
1983 establishments in California
Musical groups established in 1983
Musical groups from Berkeley, California
Musical quintets
Nuclear Blast artists
Thrash metal musical groups from California
| false |
[
"\"Be Someone Else\" is a song by Slimmy, released in 2010 as the lead single from his second studio album Be Someone Else. The single wasn't particularly successful, charting anywhere.\nA music video was also made for \"Be Someone Else\", produced by Riot Films. It premiered on 27 June 2010 on YouTube.\n\nBackground\n\"Be Someone Else\" was unveiled as the album's lead single. The song was written by Fernandes and produced by Quico Serrano and Mark J Turner. It was released to MySpace on 1 January 2010.\n\nMusic video\nA music video was also made for \"Be Someone Else\", produced by Riot Films. It premiered on 27 June 2010 on YouTube. The music video features two different scenes which alternate with each other many times during the video. The first scene features Slimmy performing the song with an electric guitar and the second scene features Slimmy performing with the band in the background.\n\nChart performance\nThe single wasn't particularly successful, charting anywhere.\n\nLive performances\n A Very Slimmy Tour\n Be Someone Else Tour\n\nTrack listing\n\nDigital single\n\"Be Someone Else\" (album version) - 3:22\n\nPersonnel\nTaken from the album's booklet.\n\nPaulo Fernandes – main vocals, guitar\nPaulo Garim – bass\nTó-Zé – drums\n\nRelease history\n\nCharts\n\nReferences\n\nExternal links\nOfficial music video at YouTube.\n\n2010 singles\nEnglish-language Portuguese songs\n2009 songs",
"Darren McGinnis (born in Sussex, New Brunswick) is a Canadian country music singer. He debuted in 2009 with the single \"More Than Me\". It was nominated at the 2010 Canadian Radio Music Awards for Country Song of the Year.\n\nMcGinnis' debut album, What's Your Story, was released on March 3, 2009, by AIM Music and distributed by Fontana North. It received three and a half stars from Bruce Leperre of the Winnipeg Free Press, who wrote that \"McGinnis's strong writing and great vocals combine with Jason Barry's exquisite production to deliver an album that combines contemporary country with a rootsy feel.\" Leperre said that McGinnis \"understands the importance of a good song\" and compared him favorably to Keith Urban and Dierks Bentley, writing that his album \"stands tall and proud right alongside either of those artists' offerings as well as anyone else making country music today.\"\n\nMcGinnis was one of eight artists selected to perform at the New Artist Showcase at the 2009 Canadian Country Music Association Awards. What's Your Story was nominated for a CCMA Award for Album Design of the Year, and his producer, Jason Barry, was nominated for Record Producer of the Year for his production on the album.\n\nDiscography\n\nStudio albums\n\nSingles\n\nReferences\n\nExternal links\n\nCanadian country singers\nCanadian male singers\nLiving people\nYear of birth missing (living people)"
] |
[
"Testament (band)",
"Dark Roots of Earth (2010-2013)",
"Was Dark Roots of Earth an album title?",
"it was announced that the tenth Testament studio album would be called Dark Roots of Earth,",
"How many copies did it sell?",
"I don't know.",
"What was one of the most famous hits on it?",
"I don't know.",
"Was there anyone else they made music with for this album?",
"It was also reported that Lamb of God drummer Chris Adler would make a special guest appearance on a couple of bonus tracks."
] |
C_142a9f599b2f4ca58d11f9c759a730fa_0
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Which songs was Chris Adler performing as bonus tracks?
| 5 |
Which songs was Chris Adler performing as bonus tracks on the Dark Roots of Earth album?
|
Testament (band)
|
As early as 2009, Testament commenced writing new material for their tenth album. In an interview with Metalheadz, guitarist Eric Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, frontman Chuck Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On 18 May 2011, guitarist Alex Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's plus] new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Drummer Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band tours to support the album. Gene Hoglan, who played drums on the band's 1997 album Demonic, filled in for Bostaph. It was also reported that Lamb of God drummer Chris Adler would make a special guest appearance on a couple of bonus tracks. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth, which, after many delays, was released on July 27, 2012. Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date. Prior to the album's release, the band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. It was announced on 1 December 2011 that Paul Bostaph had left Testament. Gene Hoglan recorded the drum tracks for Dark Roots of Earth and continues to play live with the band. In interviews, Testament have expressed pleasure in Hoglan's playing, and hope that he would continue playing with the band for the foreseeable future. CANNOTANSWER
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CANNOTANSWER
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Testament is an American thrash metal band from Berkeley, California. Formed in 1983 under the name Legacy, the band's current lineup comprises rhythm guitarist Eric Peterson, lead vocalist Chuck Billy, lead guitarist Alex Skolnick and bassist Steve Di Giorgio. Testament has experienced many lineup changes over the years, with Peterson being the only remaining original member, though they have since been rejoined by one of its songwriters Skolnick, who was out of the band from 1992 to 2005. Billy has been a member of Testament since 1986, when he replaced original singer Steve "Zetro" Souza, who had joined Exodus as the replacement of Paul Baloff. He and Peterson are the only members to appear on all of Testament's studio albums, with the latter being the only constant member overall.
Labeled as one of the "big six" of the 1980s Bay Area thrash metal scene (along with Exodus, Death Angel, Lååz Rockit, Forbidden and Vio-lence), Testament is often credited as one of the most popular and influential bands of the thrash metal scene, as well as one of the leaders of the second wave of the genre in the late 1980s. They have also been referred to as one of the "big eight" of thrash metal, along with Metallica, Megadeth, Slayer, Anthrax, Exodus, Overkill and Death Angel. The band has sold over 1.4 million albums in the United States since the beginning of the SoundScan era and over 14 million copies worldwide. To date, Testament has released thirteen studio albums (one of which is a collection of re-recorded songs), four live albums, five compilation albums, twelve singles and three DVDs.
After signing to Atlantic Records in 1986, and changing their name from Legacy to Testament, they released their debut album The Legacy in 1987, followed a year later by The New Order (1988); both albums were acclaimed by critics and the press, including heavy metal-related publications. The band achieved mainstream popularity with its third album Practice What You Preach (1989), which was Testament's first album to climb up the Top 100 on the Billboard 200 chart. A string of more successful albums were released during the early-to-mid-1990s, including Souls of Black (1990), The Ritual (1992) and Low (1994), with the first two also entering the Top 100 on the Billboard 200 chart. After Atlantic dropped the band in 1995, Testament (who had at this point had begun to experiment with a death metal-influenced sound) continued to record and perform until their temporary hiatus in 2001, when Billy was diagnosed with cancer. By 2005, his cancer was in remission and Testament had resumed activity, which briefly saw a reunion of The Legacy lineup and member changes in the interim. Since Skolnick's return to the band, Testament has experienced a resurgence of popularity, with two of their studio albums—Dark Roots of Earth (2012) and Brotherhood of the Snake (2016)—entering the Top 20 on the Billboard 200, and they have continued to tour consistently. The band released their latest studio album, Titans of Creation, on April 3, 2020. They are working on new material for their next studio album as of 2021.
History
Early years and first two albums (1983–1989)
The band was formed in the San Francisco Bay Area in 1983 under the name Legacy by guitarist Eric Peterson and his cousin, guitarist Derrick Ramirez. They soon added drummer Louie Clemente, vocalist Steve Souza and bassist Greg Christian and began playing club shows with bands such as Slayer, Lȧȧz Rockit, Death Angel and others. Clemente left the band in 1985 and was replaced by drummer Mike Ronchette. Derrick Ramirez departed soon after and young guitarist Alex Skolnick, who had studied under Bay Area guitarist Joe Satriani, was brought into the band. Legacy had been writing original material since forming and released a self-titled, four-song demo in 1985. Steve Souza left the band in 1986 to join Exodus and was replaced by Chuck Billy at Souza's suggestion. Mike Ronchette also left the band, and former drummer Louie Clemente returned.
The band was signed to Megaforce Records in 1986 on the strength of the demo tape. While recording their first album, the band was forced to change their name to Testament (which, according to Maria Ferrero in the May 2007 issue of Revolver, was suggested by Billy Milano of S.O.D. and M.O.D.), because the "Legacy" name was already trademarked by a hotel R&B cover band. Legacy played their last show prior to this name change at The Stone in San Francisco on March 4, 1987.
Testament's debut album, The Legacy, was released in April 1987 on Megaforce Records, and also distributed by Atlantic. They received instant fame within thrash circles and were often compared with fellow Bay Area thrash pioneers Metallica. Thanks to this, and the regular rotation of their first-ever music video "Over the Wall" on MTV's Headbangers Ball, the band quickly managed to increase their exposure by heading out on successful American and European tours with Anthrax, who were supporting their Among the Living album. On this tour, the Live at Eindhoven EP was recorded. Testament also opened for Slayer as well as their labelmates Overkill, and Megadeth on their Peace Sells... but Who's Buying? tour.
Testament's second album, The New Order, was released in May 1988, and found the band continuing in a similar vein. The album was a minor success, peaking at number 136 on the Billboard 200, but managed to sell over 250,000 copies on the strength of the airplay of "Trial by Fire" and the cover of Aerosmith's Nobody's Fault" (through radio and television), as well as relentless touring schedules. In support of The New Order, Testament opened for Megadeth on their So Far, So Good... So What! tour in Europe, and toured the United States with the likes of Overkill, Voivod, Death Angel, Vio-Lence, Nuclear Assault, Sanctuary, Raven, Forbidden and Heathen. They also made a number of festival appearances in the summer of 1988, such as Metalfest in Milwaukee, Aardschokdag in The Netherlands, and replaced Megadeth for some dates on the European Monsters of Rock tour, also featuring Iron Maiden, Kiss, David Lee Roth, Great White and Anthrax. By the time The New Order tour ended in early 1989, Testament had not only cemented their reputation as one of the most acclaimed thrash metal acts, but had also graduated to headlining their own shows.
Commercial breakthrough (1989–1992)
Testament released their third studio album, Practice What You Preach, in August 1989. The album minimized the occult and gothic themes found in the lyrical content of their first two albums, instead focusing on real-life issues such as politics and corruption, and while staying true to its thrash metal roots, it saw the band drawing influences from traditional heavy metal, jazz fusion and progressive/technical metal. Practice What You Preach was a commercial breakthrough for Testament, reaching at number 77 on the Billboard 200, and it was accompanied by three singles (the title track, "The Ballad" and "Greenhouse Effect") that received significant airplay from AOR radio stations and MTV's Headbangers Ball, further helping raise the band's profile. Testament toured for almost a year behind Practice What You Preach with several bands, including Overkill, Annihilator, Wrathchild America, Mortal Sin, Xentrix, Nuclear Assault, Savatage, Flotsam and Jetsam, Mordred, Dark Angel and a then-relatively unknown Primus. Despite selling over 450,000 copies, the album has never been certified gold by the RIAA.
In October 1990, Testament released their fourth studio album Souls of Black. Although reviews were mixed, the album managed to sell respectably, in no doubt largely off the strength of the single title track, and saw the band perform on arena tours, including the European Clash of the Titans tour with Megadeth, Slayer and Suicidal Tendencies. Testament supported Souls of Black with two North American tours, opening for Judas Priest on their Painkiller tour from October to December 1990, and Slayer on their Seasons in the Abyss tour from January to March 1991. They also toured Japan, and played shows with Anthrax and Sepultura. Shortly after completing the Souls of Black tour, the band released their first VHS documentary Seen Between the Lines, containing live clips recorded during the Souls of Black world tour, four promotional music videos and video interview segments.
Attempting to reconnect with an audience distracted by the growing grunge movement, Testament released The Ritual in 1992. Recorded at One on One Recording in Los Angeles under producer Tony Platt, it saw a stylistic move away from thrash to a slower, slightly more traditional heavy metal sound, and a somewhat more progressive atmosphere, with the title track being the longest song Testament had recorded up to this point. Drummer Louie Clemente acknowledged this musical change in a 1992 interview with Deseret News, explaining, "The Ritual is slower and geared toward the old style of metal while The Legacy was pure thrash. In fact, every release has been different. We've progressed naturally." Clemente said in the same interview that Platt's involvement within the album helped Testament "get more of a vibe." The Ritual peaked at 55 on the Billboard 200, the band's highest chart position at the time, and the power ballad "Return to Serenity" managed to receive radio airplay, peaking at number 22. Despite selling more than 485,000 copies in the United States, the album has never received gold certification. In support of The Ritual, Testament toured Europe and North America, headlining their own tours, as well as opening for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour. However, the success of the album did not put an end to the tensions within the band.
Transitional period (1992–2004)
For the remainder of the 1990s, Testament had undergone a series of changes in its lineup, as well as a change of pace in its musical style. The first member of The Legacy-era lineup to leave the band was lead guitarist Alex Skolnick, who performed his last show with them on Halloween 1992. Skolnick has stated that one of the reasons he left Testament was because he wanted to expand his musical horizons rather than continuing to play thrash metal music. A few months later, drummer Louie Clemente left the band.
Skolnick and Clemente were temporarily replaced by Forbidden members Glen Alvelais and Paul Bostaph, respectively. This lineup released the 1993 live EP, Return to the Apocalyptic City. Soon after, Alvelais quit the band and Paul Bostaph departed to join Slayer. Their next album, Low (1994), featured John Tempesta on drums and death metal guitarist James Murphy, formerly of Death, Cancer, and Obituary. Low was a diverse album, featuring various influences such as alternative, hard rock, death metal, groove metal, progressive, and as well as a ballad, "Trail of Tears". The band's remaining fans reacted favorably to the album, although it did little to expand Testament's fanbase. Some fans, however, viewed Testament's move away from the mainstream as a liberation that allowed them to expand artistically, not being pressured by sales and success as they once were. Despite the fact that the album charted lower than the band's previous three albums on the Billboard 200 at number 122, its title track "Low" received decent airplay from Headbangers Ball on MTV and the Los Angeles-based radio station KNAC, just before both outlets went off the air in early 1995. Testament toured for over a year in support of Low, playing with numerous acts such as Machine Head, Downset., Korn, Forbidden, Kreator, At the Gates, Moonspell, Crowbar, Suffocation and Gorefest. Their first full-length live album Live at the Fillmore, released in the summer of 1995, was recorded during this tour and marked their first release since they ended their eight-and-a-half-year tenure with Atlantic Records.
Tempesta left Testament after the recording of Low to join White Zombie, being replaced by Jon Dette for the following tour, though the latter would leave the band in 1995. Dette's replacement was Chris Kontos, who had formerly been part of Machine Head. This lineup is featured on the Judas Priest cover Rapid Fire. After the 1996 club tour, Greg Christian, James Murphy, and Chris Kontos departed the band. During the time Kontos was in Testament he suggested the band drop the name altogether and call the band "Dog Faced Gods". This idea was turned down by Billy and Peterson who wanted to continue with the Testament name. The two later temporarily disbanded Testament.
The band's follow-up album, Demonic, released June 1997, took a new approach, and found Testament experimenting with death metal more. The album featured Eric Peterson on both lead and rhythm guitar (although Glen Alvelais made a guest appearance, and played on the subsequent tour), early member Derrick Ramirez on bass guitar, and former Dark Angel drummer Gene Hoglan. Hoglan left before the Demonic tour to join Strapping Young Lad, with Steve Jacobs doing the South American leg of the tour and Jon Dette returning later. Hoglan's loyalty to Strapping Young Lad and his desire to not remain a member of Testament actually came to realization during a published interview the band conducted with Metal Maniacs Magazine.
By 1998, Ramirez, Alvelais and Dette had departed and James Murphy had returned for the June 1999 release of The Gathering. The rhythm section on The Gathering was highly respected, consisting of metal fretless bass pioneer Steve Di Giorgio (formerly of Death and Sadus) and original Slayer drummer Dave Lombardo. The sound of the album was largely a combination of death metal and thrash metal, with a minor black metal influence from Eric Peterson's side project, Dragonlord.
Soon after the release of The Gathering, lead guitarist James Murphy was diagnosed with a brain tumor. Through various fundraisers, Murphy was able to afford surgery and eventually made a full recovery, but was unable to recall anything from the recording of The Gathering. In 2001, Chuck Billy was also diagnosed with germ cell seminoma, a rare form of testicular cancer, but it only affected Billy's lungs and heart. His cancer was also treated successfully. In August 2001, friends of Billy organized the Thrash of the Titans benefit concert, featuring seminal Bay Area thrash metal bands Vio-lence, Death Angel, Exodus, Forbidden, Sadus and Heathen, as well as Anthrax, S.O.D. and Flotsam and Jetsam. The show was headlined by a Legacy reunion, featuring Steve Souza on vocals, and former guitarist Alex Skolnick, who had not played with the band since 1992, and bassist Greg Christian. Late in 2001, Testament released First Strike Still Deadly, a collection of re-recordings (with modern studio technology) of songs from their first two albums. The album featured the lineup of Billy, Peterson, Di Giorgio, the return of Alex Skolnick on guitar, and John Tempesta on drums.
By 2003, Chuck Billy had made a full recovery, and the band began performing live again with a new drummer, Jon Allen of Sadus. In 2004, the band changed their lineup once again for their summer festival appearances. Jon Allen was replaced by Paul Bostaph, returning to the band for a second stint after a decade's absence. Lead guitarist Steve Smyth departed to join Nevermore and was replaced by ex-Halford guitarist "Metal" Mike Chlasciak. Shortly after Steve Smyth's departure, Eric Peterson fell down a flight of stairs, breaking his leg, and was unavailable for some dates. He was temporarily replaced by Steve Smyth.
Reunion of classic lineup and The Formation of Damnation (2005–2010)
In May 2005, it was announced that Testament would be doing a brief Europe-only reunion tour – known as the "10 Days in May Tour" – featuring the classic lineup of Billy, Peterson, Skolnick and Christian, with drum duties shared between John Tempesta and Louie Clemente. After the success of the initial tour dates, Testament announced more dates in the U.S., Europe, and Japan with the classic lineup. Later that year, Skolnick also toured the East Coast with Trans-Siberian Orchestra. The band went on to release a live DVD and CD from the tour entitled Live in London. In interviews on the DVD, Eric Peterson expressed his desire to record the follow-up to The Gathering with the classic Testament lineup. He also stated that Alex Skolnick had begun writing songs for the new album. Chuck Billy was very vocal about how happy he was to have Alex, Greg, Louie, and John Tempesta in the band once again, and hoped to maintain a stable lineup going forward. Also in 2005, Testament's long-out of print documentary Seen Between the Lines was released on DVD for the first time.
Testament played for the first time in the Middle East at the Dubai Desert Rock festival in March 2006. Other notable bands that performed for the Desert Rock Festival were Iron Maiden, Megadeth, Reel Big Fish and 3 Doors Down.
In July 2007, the band played a show at Jaxx Nightclub in Springfield, Virginia, with Paul Bostaph filling in on drum duties. It was later confirmed that Bostaph would be officially returning to the band to record the new album. The band debuted a new song at that show titled "The Afterlife", which they also played at Earthshaker Fest.
In February 2008, the band released the song "More Than Meets the Eye" from the new album on their Myspace page.
In April 2008, Testament was confirmed for Ozzy Osbourne's Monsters of Rock festival to take place on July 26, 2008, in Calgary, Alberta, Canada.
Testament released their first studio album in nine years, The Formation of Damnation, on April 29, 2008, through Nuclear Blast Records. It was the first Testament album to feature Alex Skolnick on guitar since 1992's The Ritual, and the first to feature bassist Greg Christian since 1994's Low.
The band was confirmed to be the main event on the first day of the "Gillmanfest," a rock festival to be held on May 24, 2008, in Valencia, Venezuela, visiting Colombia for the second time in the band's extensive career. In June 2008, Testament headlined the 3rd stage at Download Festival, held at Donington Park, UK. The band also toured the US as a supporting act for Judas Priest, Heaven & Hell, and Motörhead on the "Metal Masters Tour". The band announced that they had recruited guitarist Glen Drover (ex-Megadeth and King Diamond) to fill in on their upcoming Mexican tour dates with Judas Priest, due to Alex Skolnick's prior commitment to the Trans-Siberian Orchestra.
Testament would embark on the "Priest Feast" European tour with headliners Judas Priest and Megadeth in February and March 2009. On March 25, 2009, Testament played a special one-off show at the O2 Islington Academy in London, where they performed their first two albums (The Legacy and The New Order) back-to-back, with British thrash band Sylosis in support. Also in 2009, Testament set out on a 6-week tour across the US to promote The Formation of Damnation, touring with Unearth and Lazarus A.D. In early 2010, Testament toured the United States with Megadeth and Exodus. Alex Skolnick did not participate in the tour due to previous obligations and Glen Drover again filled in for him. In the summer of 2010, the band toured Australia, and supported Megadeth and Slayer on the American Carnage Tour. Testament also headlined for the first time in the Philippines for the annual Pulp Summer Slam on April 17, 2010 with heavy metal band Lamb of God.
Dark Roots of Earth (2010–2013)
As early as 2009, Testament started writing new material for their tenth album. In an interview with Metalheadz, Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On May 18, 2011, Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's] plus new ones we wrote today. Planning one more, then we've got more than we need."
Testament began recording their tenth studio album on June 20, 2011. Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band began touring to support the album. Bostaph was replaced by Gene Hoglan, who had played drums with Testament on their 1997 album Demonic.
Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames.
The band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. John Tempesta filled in for Bostaph on the tour. It was announced on December 1, 2011 that Paul Bostaph had left Testament. Gene Hoglan, who had recorded the drum tracks for the new album, was brought back after the band had expressed pleasure in his playing, hoping that he would continue with the band for the foreseeable future.
After many delays, the band's tenth studio album Dark Roots of Earth was released on July 27, 2012. The album debuted at No. 12 on the Billboard 200, their highest chart position to date. Lamb of God drummer Chris Adler made a guest appearance on the bonus track "A Day in the Death".
Dark Roots of Thrash and Brotherhood of the Snake (2013–2019)
In August 2012, Peterson stated that Testament would record an eleventh studio album if Dark Roots of Earth did well. A week prior to the release of Dark Roots of Earth, Billy promised that Testament would not take "huge gaps" between albums anymore, and would "work hard and tour for two years or so," and try to release another album when they could. Hoglan had also said that he would "absolutely dig" to be a part of the writing of the next Testament album.
On September 13, 2013, Billy told Rock Overdose that from January to April 2014, Testament would be writing and recording their eleventh studio album for a 2014 release. Testament released a live DVD/double album Dark Roots of Thrash on October 15, 2013. The release documents the band's sold-out headlining performance at the Paramount in Huntington, New York, in February 2013.
In January 2014, bassist Greg Christian left Testament again, and was replaced by a returning Steve Di Giorgio. Christian has claimed that the reasons behind his departure were because of money disputes and differences with the band.
When asked in an April 2015 interview about Testament's plans to begin recording their twelfth album, Peterson said that his "main goal" was to "get home [from tour] in June, finish it up and get in the studio by September." Billy also said that the band's goal was to have the album finished by Thanksgiving. Slovenian bassist Tilen Hudrap (Pestilence, Vicious Rumors, Paradox, Thraw) and Bay Area drummer Alex Bent (Arkaik, Dragonlord, Decrepit Birth, Battlecross) filled in for Di Giorgio and Hoglan respectively at the prestigious Canadian open-air festival Heavy Montreal in August 2015, which was attended by more than 70,000 spectators.
In May 2016, Billy confirmed their twelfth album would be entitled Brotherhood of the Snake. Of the album's lyrical content, he commented, "The Brotherhood of the Snake was actually a society about 6,000 years ago that debarred all religions. It was just a fascinating topic that caught our eye and attention and spawned a lot of songs. We're going with that vibe. There will be some songs that deviate, but the majority will be around that and aliens and religion. Then I'll probably tap into my native heritage and write some songs about that. It's not just going to be one concept, but there is some interesting stuff that we're finding to write about." Brotherhood of the Snake was released on October 28, 2016, and received generally positive reviews from critics, and scored Testament their second-highest chart position on the Billboard 200, peaking at number twenty. Shortly after its release, Testament embarked on an international tour with Amon Amarth, and toured North America in April–May 2017 with Sepultura, Prong, Infernal Tenebra and Dying Gorgeous Lies. The band also toured Europe with Annihilator and Death Angel in November and December 2017, and again in March and April 2018, with Annihilator and Vader supporting. Along with Anthrax, Lamb of God, Behemoth and Napalm Death, Testament opened for Slayer on their final North American tour, which took place in the spring and summer of 2018. Testament also performed at Megadeth's first-ever cruise called Megacruise in October 2019.
Titans of Creation and planned fourteenth studio album (2019–present)
By March 2017, Testament had begun writing the follow-up to Brotherhood of the Snake, with plans to release it in 2018. Billy stated in March 2018 that Testament would start working on their thirteenth studio album after they finish touring in support of Brotherhood of the Snake in August, hoping not to repeat the four-year gaps between their last three albums. He later stated that opening for Slayer on their farewell tour would be "the final lap for [them] touring" in support of Brotherhood of the Snake. Work on the follow-up album began in February 2019, and pre-production began in May with Andy Sneap as the mixer. Drummer Gene Hoglan revealed in a June 2019 interview on the "Talk Toomey" podcast that the band had finished recording the album for a 2019 or early 2020 release. Peterson later stated that it would be released in January 2020.
The band, along with Exodus and Death Angel, took part in The Bay Strikes Back tour of Europe in February and March 2020. Following the tour, Chuck Billy and his wife Tiffany tested positive for COVID-19, making him the third person to have contracted the virus during the tour following Will Carroll of Death Angel and Gary Holt of Exodus. Bassist Steve Di Giorgio was later diagnosed with COVID-19, becoming the second member of Testament to have tested positive for the condition.
Testament released their thirteenth studio album Titans of Creation on April 3, 2020. They were due to headline a US tour to promote the album, with support provided by The Black Dahlia Murder, Municipal Waste and Meshiaak, but it was postponed due to the COVID-19 pandemic. For this reason, Testament did not tour in support of Titans of Creation for over a-year-and-a-half; touring for the album was scheduled to start in the fall of 2021, with the band resuming their Bay Strikes Back tour in the US with Exodus and Death Angel, but the COVID pandemic led to its postponement to the spring of 2022. Following this will be summer European tour, which will include festival appearances, as well as headlining dates with Exodus, Death Angel and Heathen, and one with Sepultura.
In a May 2020 interview with Exodus and former Legacy frontman Steve "Zetro" Souza on his "Toxic Vault" video channel, Billy was asked if he was going to write another Testament album during the COVID-19 pandemic. His response was, "We're not writing a record yet. I won't release what we're doing, but we are gonna write some stuff. Just to do something, not a record but maybe something just to have some singles." In a July 2020 interview with Australia's Riff Crew, Billy commented on his take on the possibility of writing another Testament album during the pandemic, saying, "Well, if it is truly, as someone says, a two-year period, of course, we're gonna go write another record, and when it all settles, we'll have two records… And if it had to be that long, then, yeah, we would probably consider just writing another record." Peterson reiterated Billy's comments in September 2020 that the band could work on new material before they tour to support Titans of Creation. In a March 2021 interview on Alive & Streaming, an internet podcast hosted by Death Angel guitarist Ted Aguilar, Billy confirmed that Peterson has been writing new material for what could result in the next Testament album.
On January 21, 2022, the band and longtime drummer Gene Hoglan announced on their respective social media accounts that he had once again left Testament to pursue "an exciting new chapter of [his] career and free agency, with all that it will entail."
Legacy and influence
Inspired by the new wave of British heavy metal and local Bay Area music scenes, Testament has been credited as one of the leaders of the second wave of thrash metal in the late 1980s, as well as one of the most influential Bay Area thrash metal acts. AllMusic described them as "one of the first thrash acts to emerge from the Bay Area in Metallica's wake during the '80s."
Numerous hard rock and heavy metal acts such as Aerosmith, AC/DC, Angel Witch, Black Sabbath, Boston, Deep Purple, Def Leppard, Dio, Iron Maiden, Judas Priest, Kiss, Led Zeppelin, the Michael Schenker Group, Montrose, Ozzy Osbourne (particularly the Randy Rhoads era), Samson, Saxon, Scorpions, The Sweet, Thin Lizzy, UFO (particularly the Michael Schenker era), Van Halen and Venom have been cited as an influence or inspiration behind Testament's music. The band's other musical influences include The Beatles, as well as guitar players like Jeff Beck, Chuck Berry, Jimi Hendrix, Yngwie Malmsteen, Frank Marino, Mahogany Rush, Pat Travers and Johnny Winter, and their Bay Area thrash metal contemporaries Metallica and Exodus.
Testament has influenced multiple bands, such as Pantera, Sepultura, Death Angel, Annihilator, White Zombie, Korn, Machine Head, Drowning Pool, Kataklysm, Lamb of God, Morbid Angel, Cannibal Corpse, Entombed, Gojira, Killswitch Engage, Exhorder, Havok, Evile, Blind Guardian, Sevendust, Suicidal Angels, Trivium, Nightwish, Shadows Fall, Terror, Unearth, Skeletonwitch, Warbringer, Primal Fear, Fight, Sons of Texas, Incite, Demolition Hammer, and Forced Entry.
In the video for Bowling for Soup's "Punk Rock 101", guitarist and vocalist Jaret Reddick can be seen wearing one of Testament's t-shirts.
Members
Current members
Eric Peterson – lead and rhythm guitar, backing vocals
Chuck Billy – lead vocals
Alex Skolnick – lead guitar, backing vocals
Steve Di Giorgio – bass , backing vocals
Discography
The Legacy (1987)
The New Order (1988)
Practice What You Preach (1989)
Souls of Black (1990)
The Ritual (1992)
Low (1994)
Demonic (1997)
The Gathering (1999)
First Strike Still Deadly (2001)
The Formation of Damnation (2008)
Dark Roots of Earth (2012)
Brotherhood of the Snake (2016)
Titans of Creation (2020)
References
External links
1983 establishments in California
Musical groups established in 1983
Musical groups from Berkeley, California
Musical quintets
Nuclear Blast artists
Thrash metal musical groups from California
| false |
[
"Alive is an EP released by American hard rock band Adler's Appetite on April 2, 2012. It is a sequel to the band's first EP, the self-titled Adler's Appetite that was released in February 2005. In 2010 the band released their single “Alive\" on iTunes from what was intended to be their upcoming album Alive that was slated to be released in 2011. Also a radio edit of the single was released on July 29, 2010 in conjunction with Steven Adler's tell-all autobiography, My Appetite for Destruction: Sex, and Drugs, and Guns N' Roses, and the band continued recording the album in fall 2011 in North Hollywood, California, and unlike the band's first EP which the band produced itself, Alive was produced by Cinderella band member and drummer Fred Coury, and was also recorded in a different studio as well. The album was mixed by Adler's long time friend Anthony Focx, and was released under the record label Down Boys Records. There is a digital as well as a limited-edition physical release, as Alive is available in both CD and digital music formats.\n\nTrack listing\n\nPersonnel\nSteven Adler – drums\nAlex Grossi – guitar\nRick Stitch – vocals\nMichael Thomas – guitars\nChip Z'Nuff – bass\n\nTechnical personnel\nFred Coury – production\nAnthony Focx – mixing\n\nMiscellaneous\nAlive comes with a few different art covers, the one that is red with a bald eagle on it and contains information about the song writing on the back of it, and has three tracks. The other one that contains three tracks has a black background with white and red artwork on the cover and has an Adler's Appetite online email address written on it. The longer version contains four tracks which one is the instrumental version of the song alive, and has the lincense info email address written on the back of it. Just like the band's first EP, the Alive EP is only sold though internet websites, and no version of it contains any booklet.\nAdler's Appetite's band members Rick Stitch, Chip Z'Nuff, and Alex Grossi had left the band before the release of the album.\nUnlike Adler's Appetite's first EP, all the tracks on Alive are completely written by Adler's Appetite and Fred Coury, and contain no cover songs.\nAlive (the version that features three tracks) is the album that Steven Adler has appeared on which has the fewest songs.\nRick Stitch has said \"The CD sounds like a more modern version of Guns N' Roses, and it definitely has everyone’s signature roots and influences on it\".\nSteven Adler has said \"The new songs are coming along great, after the response we got from performing Alive all summer, we are really excited to put out more original music and as much as we love doing all the old GN’R stuff, which of course we will continue to do, it will be nice to show the fans that there is so much more to this band than what people have seen”.\nAkex Grossi has said “We are really excited to be moving forward with original material, I think people are really going to like the direction we are going in\".\n\nReferences\n\n2012 EPs\nAdler's Appetite albums\nArticles containing video clips",
"The Roots of Guns N' Roses is a compilation album containing old songs of Hollywood Rose. It was released on June 22, 2004, by Deadline Music (Cleopatra Records).\n\nBackground\nThe album was produced by Chris Weber, the band's ex-guitarist. Cleopatra records bought the five tracks from Weber, who originally paid for the recordings in 1984. It contains three sets of five demos: the first five are original versions, the following five have been remixed by former-Guns N' Roses guitarist Gilby Clarke, and the last five have been remixed by Fred Coury, the drummer of Cinderella, who took part in a tour with Guns N' Roses when Steven Adler broke his wrist.\n\nThe \"Shadow of Your Love\" and \"Reckless Life\" remixes by Gilby Clarke were recorded with the first guitarist of Guns N' Roses, Tracii Guns.\n\nThe songs \"Anything Goes\" and \"Reckless Life\" were later recorded again by Guns N' Roses. They were released on the albums Appetite for Destruction and G N' R Lies, respectively.\n\nSlash, Duff McKagan and Steven Adler, together with Axl Rose, Chris Weber and Izzy Stradlin, were credited as the composers of \"Anything Goes\", \"Shadow of Your Love\" and \"Reckless Life\". These songs were originally performed by Hollywood Rose and were only later played by Guns N' Roses. In fact, when Rose, Weber and Stradlin composed these songs, they were not yet in touch with Slash, McKagan or Adler.\n\nOn January 18, 2005, the Japanese version was released by Sony, together with a bonus DVD.\n\nBefore the album's release in June 2004, Rose sued the record label Cleopatra Records for \"trademark infringement, violation of rights in his name and likeness, and for unfair competition\", and filed a motion to block the release, however a judge denied the motion and the album was released.\n\nTrack listing\n\nPersonnel\nW. Axl Rose – lead vocals\nIzzy Stradlin – rhythm guitar, bass\nChris Weber – lead guitar, bass\nJohnny Kreis – drums\nTracii Guns – guitar on tracks 9 and 10\n\nReferences\n\n2004 compilation albums\nHollywood Rose albums\nGuns N' Roses"
] |
[
"Orrin Hatch",
"Intellectual property"
] |
C_5e15fa53c20c407a90a91f3dbb34f823_1
|
Has HAtch introduced legislation about intellectual property?
| 1 |
Has Orrin Hatch introduced legislation about intellectual property?
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Orrin Hatch
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Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in 1997. Hatch believes intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators. Hatch caused an overnight controversy on June 17, 2003 by proposing that copyright owners should be able to destroy the computer equipment and information of those suspected of copyright infringement, including file sharing, he stated that "This may be the only way you can teach somebody about copyrights." In the face of criticism, especially from technology and privacy advocates, Hatch withdrew his suggestion days later, after it was discovered that Sen. Hatch's official website was using an unlicensed JavaScript menu from United Kingdom-based software developer Milonic Solutions. Milonic founder Andy Woolley stated that "We've had no contact with them. They are in breach of our licensing terms." Shortly after the publication of that story in Wired magazine, the company that runs Hatch's website contacted Milonic to start registration. One year later, he proposed the controversial INDUCE Act that attempted to make illegal all tools that could be used for copyright infringement if said tools were intentionally used for illegal copyright infringement. On September 20, 2010, Hatch once again attempted to outlaw websites which could be used for trademark and copyright infringement through the Combating Online Infringement and Counterfeits Act (COICA). This bill would authorize the United States Department of Justice to blacklist and censor all websites that the department deemed to be dedicated to "infringing activities". CANNOTANSWER
|
Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in
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Orrin Grant Hatch (born March 22, 1934) is an American attorney, retired politician, and composer who served as a United States Senator from Utah for 42 years (1977–2019). He is the longest-serving Republican U.S. Senator in history and the longest-serving U.S. Senator from Utah.
Hatch chaired the Senate Committee on Health, Education, Labor, and Pensions from 1981 to 1987. He also served as chair of the Senate Judiciary Committee from 1995 to 2001 and 2003 to 2005. On January 3, 2015, after the 114th United States Congress was sworn in, Hatch became President pro tempore of the Senate. He served as chairman of the Senate Finance Committee from 2015 to 2019. Hatch led the efforts to pass the Tax Cuts and Jobs Act of 2017. He retired in January 2019 and was succeeded by the 2012 Republican presidential nominee, Mitt Romney.
Early life and education
Orrin Grant Hatch was born and raised in Pittsburgh, Pennsylvania. He is the son of Jesse Hatch (1904–1992), a metal lather, and his wife Helen Frances Hatch (née Kamm; 1906–1995). Hatch had eight brothers and sisters, two of whom did not survive infancy. Hatch was profoundly affected by the loss of his older brother Jesse, a U.S. Army Air Forces nose turret gunner with the 725th Bombardment Squadron who was killed on February 7, 1945, when the B-24 he was aboard was shot down over Austria.
Hatch, who grew up in poverty, was the first in his family to attend college; he attended Brigham Young University and received a B.A. degree in history in 1959. He also fought 11 bouts as an amateur boxer. In 1962, Hatch received a J.D. degree from the University of Pittsburgh School of Law. Hatch has stated that during law school, he and his young family resided in a refurbished chicken coop behind his parents' house. Hatch worked as an attorney in Pittsburgh and moved to Utah in 1969, where he continued to practice law.
Elections
In 1976, in his first run for public office, Hatch was elected to the United States Senate, defeating Democrat Frank Moss, a three-term incumbent. Hatch criticized Moss's 18-year tenure in the Senate, saying, "What do you call a Senator who's served in office for 18 years? You call him home." Hatch ran on the promise of term limits and argued that many Senators, including Moss, had lost touch with their constituents.
In 1982, Hatch won re-election, defeating Mayor of Salt Lake City Ted Wilson by 17 points. He defeated Brian Moss (Frank Moss' son) by 35 points in 1988 and was re-elected in 1994, 2000, 2006, and 2012.
In 2000, Hatch sought the Republican presidential nomination. After finishing last in the Iowa caucuses, Hatch withdrew his candidacy on January 27, 2000, and endorsed eventual winner George W. Bush.
2012 Senate election
After the defeat of Utah's Senator Bob Bennett in 2010, conjecture began as to whether six-term Senator Hatch would retire in 2012. It was also speculated that Congressman Jason Chaffetz would run against Hatch, though Chaffetz would later decline. In January 2011, Hatch announced his campaign for re-election. Later, nine other Republicans, including former State Senator Dan Liljenquist and then-State Legislator Chris Herrod, declared campaigns for U.S. Senator.
Having elected state delegates in mid-March, both the Democratic and Republican parties held conventions on April 21, with the possibilities to determine their nominees for the November general election. At the Republican convention, Hatch failed to get the 60% vote needed to clinch the Republican nomination, so he faced Liljenquist (the second-place winner) in the primary June 26. Hatch won the primary easily. It was Hatch's first primary competition since his election in 1976. The Democratic convention chose former state Senator and IBM executive Scott Howell as the Democratic Party candidate. Hatch defeated Howell, receiving 65.2% of the vote to Howell's 30.2%.
2016 presidential endorsements
In the 2016 presidential election, Hatch originally supported former Florida Governor Jeb Bush and later endorsed Florida Senator Marco Rubio once Bush ended his campaign. On May 12, 2016, after Donald Trump became the presumptive Republican presidential nominee, Hatch endorsed him. On May 27, 2016, after Trump suggested that a federal judge Gonzalo P. Curiel was biased against Trump because of his Mexican heritage, Hatch said: "From what I know about Trump, he's not a racist but he does make a lot of outrageous statements...I think you can criticize a judge but it ought to be done in a formal way" and said that Trump's statements were not so inappropriate that he would rescind his support. On October 7, 2016, following the Donald Trump Access Hollywood controversy, Hatch described Trump's comments as "offensive and disgusting" and said that "[there] is no excuse for such degrading behavior. All women deserve to be treated with respect." Hatch maintained his endorsement of Trump's candidacy.
U.S. Senate tenure
Hatch took office as a U.S. senator on January 3, 1977. He chaired the Senate Committee on Health, Education, Labor, and Pensions from 1981 to 1987. He also served as chair of the Senate Judiciary Committee and the Senate Finance Committee.
In September 1989, Hatch was one of nine Republican senators appointed by Senate Republican Leader Robert Dole to negotiate a dispute with Democrats over the financing of President Bush's anti-drug plan that called for spending $7.8 billion by the following year as part of the president's efforts to address narcotics nationwide and abroad.
Hatch expressed interest in serving on the United States Supreme Court. It was reported that he was on Ronald Reagan's short list of candidates to succeed Lewis F. Powell Jr. on the Supreme Court, but was passed over at least in part because of the Ineligibility Clause. Despite that, he vocally supported Robert Bork, who was chosen instead.
Hatch "worked across the aisle to pass landmark legislation, including the Americans with Disabilities Act and the Children's Health Insurance Program". During the 1991 confirmation hearings regarding the Supreme Court nomination of Clarence Thomas, Hatch "famously defended Thomas...by reading aloud from 'The Exorcist' to suggest Anita Hill lifted details of her sexual harassment allegations from the horror book".
On January 3, 2015, after the 114th United States Congress was sworn in, Hatch became President pro tempore of the Senate.
Hatch was absent from the 2017 Inauguration Day festivities. At the request of President-elect Donald Trump, he agreed to serve as designated survivor during the inauguration and was kept at a secure, undisclosed location.
On December 25, 2017, the Salt Lake Tribune published an editorial entitled "Why Orrin Hatch is Utahn of the Year." The newspaper described its criteria for the designation as "Utahn of the Year" as "the Utahn who, over the past 12 months, has done the most. Has made the most news. Has had the biggest impact. For good or for ill." The editorial criticized Hatch for his role in the size reduction of the Grand Staircase-Escalante National Monument and the passage of the Tax Cuts and Jobs Act of 2017 and accused him of lacking integrity.
Hatch announced on January 2, 2018, that he would retire from the Senate instead of seeking re-election that November. Hatch retired from the Senate on January 3, 2019, having served there for 42 years. At the time of his retirement announcement, he was the longest-serving U.S. Senator in Utah history (having eclipsed previous record-holder Reed Smoot in 2007), the longest-serving Republican U.S. Senator in the history of Congress, and also one of the longest-serving Republican members of Congress in the history of the United States. Hatch surpassed fellow senators Ted Stevens and Strom Thurmond, who joined the Republican Party in 1964, and was later surpassed by Chuck Grassley and Don Young.
Political positions and votes
Abortion
Hatch was strongly opposed to abortion and was the author of the Hatch Amendment to the Constitution, which stated that there is no constitutional right to abortion and empowered the states to restrict abortion as they saw fit.
Anti-terrorism
In 1995, Hatch was the leading figure behind the senate's anti-terrorism bill, to a large extent a response to the Oklahoma City Bombing. Elements of the bill were criticised by the Anti-Defamation League and American Jewish Committee on civil liberties grounds, especially the new limits imposed on habeas corpus in capital cases.
As a senior member of the Senate Select Intelligence Committee, Hatch was also instrumental in the 2008 extension of the Foreign Intelligence Surveillance Act. He said, "This bipartisan bill will help defeat terrorism and keep America safe. No, the legislation is not perfect, but it ensures that the increased expansion of the judiciary into foreign intelligence gathering doesn't unnecessarily hamper our intelligence community."
Bailouts
Hatch voted in favor of the 2008 legislation that established the Troubled Asset Relief Program (TARP). In 2011, Hatch said that he "probably made a mistake voting for it", and also claimed "at the time, we were in real trouble and it looked like we were ready for a depression. I believe we would have gone into a depression."
He voted against the renewal of TARP in 2009, and the renewal was voted down by 10 votes in the Senate.
Hatch voted in favor of the Housing and Economic Recovery Act of 2008. The bill authorized $300 billion to guarantee mortgages and restore confidence in Fannie Mae and Freddie Mac.
Balanced budget amendment
Hatch has been a longtime advocate of amending the United States Constitution to require that total spending of the federal government for any fiscal year not exceed total receipts.
During his time in the Senate, Hatch has sponsored a balanced budget amendment 17 times—4 times as lead sponsor and 13 times as a co-sponsor. He also voted in favor of passing a Balanced Budget Amendment on at least 9 occasions. Hatch's proposed amendment passed the House of Representatives in 1997, but failed to pass the Senate by the required two-thirds majority by one vote to move on the states for ratification.
Bank of Credit and Commerce International
In January 1990, the federal judge in a case against the Bank of Credit and Commerce International (BCCI) accepted a 1989 plea bargain offered to the bank by the U.S. Department of Justice. The bank was to pay $15 million in fines and only admit that it had laundered drug money. Afterward, Hatch presented an impassioned defense of the bank in a speech on the Senate floor. It had been largely written for him by the bank's attorney Robert Altman. Hatch said, "The case arose from the conduct of a small number of B.C.C.I.'s more than 14,000 employees." Since 1989, Hatch and his aide, Michael Pillsbury, had been involved in efforts to counter the negative publicity that surrounded the bank. Hatch had also solicited the bank to approve a $10 million loan to a close friend, Monzer Hourani. In 1991, B.C.C.I. was shut down after regulators accused it of one of the biggest international financial frauds in history. Law enforcement officials accused the bank of making bribes throughout the third world to arrange government deposits. Clark Clifford, a former presidential advisor and Defense Secretary, and Altman, his law partner, were charged with taking bribes from B.C.C.I., in exchange for concealing its illegal ownership of First American Bankshares, a Washington holding company which Clifford chaired. Both had denied the charges, which were filed in New York State and Federal courts. In 1992, in a "Report to the Committee on Foreign Relations of the United States Senate," prepared by committee members, U.S. Senators John Kerry (D-MA) and Hank Brown (R-CO), noted that a key strategy of "BCCI's successful secret acquisitions of U.S. banks in the face of regulatory suspicion was its aggressive use of a series of prominent Americans," Clifford amongst them. The relationship with Hourani included the receipt of campaign contributions laundered through his employees, for which Hourani was fined $10,000, as well as his purchase of 1,200 CDs of Hatch's songs, for which Hatch received $3 to $7 each, and the management of a blind trust for Hatch. These led to a Senate Ethics Committee investigation, by which Hatch was eventually cleared.
Energy
As chairman of the Senate Finance Committee, Hatch has investigated the use of what are known as Section 1603 grants and tax credits. The Section 1603 program was created in President Barack Obama's 2009 stimulus package with the intention of subsidizing green energy production. Since 2009, the federal government has given out $25 billion in cash grants on behalf of the program. Hatch has investigated the program on several occasions. On June 9, 2016, his office requested from Department of Treasury, the Internal Revenue Service (IRS) and the Treasury Inspector General for Tax Administration (TIGTA) details about how companies use the program. In March 2016, Hatch asked the IRS and Treasury Department to demonstrate that the agencies use safeguards and coordinate with each other when reviewing applications for Section 1603 grants. Per his June letter to Treasury Secretary Jack Lew, the agencies have cooperated with Hatch's investigation.
Health care reform
Hatch opposed President Barack Obama's health reform legislation; he voted against the Affordable Care Act in December 2009, and he voted against the Health Care and Education Reconciliation Act of 2010.
Hatch has argued that the insurance mandate found in the legislation is not in the category that can be covered by the interstate commerce clause since it regulates the decision to engage in commercial activity rather than regulating the activity itself. He therefore regards the Act as unconstitutional. NPR called Hatch a "flip-flopper" on this issue since in 1993 Hatch co-sponsored a bill along with 19 other Senate Republicans that included an individual insurance mandate as a means to combat healthcare legislation proposed by Hillary Clinton. In 2018, Hatch said that Obamacare supporters were "the stupidest, dumbass people I've ever met".
Hatch was one of the first Senators to suggest that the individual mandate was unconstitutional and promised to work on dismantling it when he becomes the Finance Committee Chairman. Hatch was part of the group of 13 Senators drafting the Senate version of the AHCA behind closed doors.
In 2003, Hatch supported the Medicare prescription drug benefit plan known as Medicare Part D. Responding to criticism of the legislation during the 2009 debate on health care reform, Hatch said that in 2003 "it was standard practice not to pay for things" and that although there was concern at the time about increasing the deficit, supporting the bill was justified because it "has done a lot of good".
On March 25, 2014, Hatch cosponsored the Emergency Medical Services for Children Reauthorization Act of 2014 in the Senate. The bill that would amend the Public Health Service Act to reauthorize the Emergency Medical Services for Children Program through FY2019. The bill would authorize appropriations of about $20 million in 2015 and $101 million over the 2015–2019 period. Hatch argued that "children require specialized medical care, and that specialized care comes with unique challenges. The EMSC program helps ensure that some of our country's most vulnerable have access to the care they need, and I've been proud to support it all these years."
Immigration
Hatch was one of the architects and advocates of the expansion of H-1B visas and has generally been an advocate of tougher enforcement immigration policy including voting for 1,500 new law enforcement agents to patrol the border. His 2010 Immigration Bill titled Strengthening Our Commitment to Legal Immigration and America's Security Act has received the support of the Center for Immigration Studies (CIS). He also proposed the DREAM Act, which would provide a pathway to citizenship for the children of undocumented immigrants, who were children when their parents came to the United States.
Hatch critiqued President Donald Trump's 2017 executive order to temporarily suspend immigration from seven Muslim countries until better screening methods are devised. He reflected on his own family's immigration history and described the order as placing "unnecessary burdens" on families.
Judicial nominations
As ranking minority member of the Senate Judiciary Committee, Hatch fought hard to get conservative judges nominated to the Supreme Court. He took a leading role in the Senate confirmation hearings of Clarence Thomas in October 1991. He was also a strong supporter of Jay Bybee during Bybee's confirmation hearings for a seat on the United States Court of Appeals for the Ninth Circuit, stating "I've seen a lot of people around and a lot of judges and I don't know of anybody who has any greater qualifications or any greater ability in the law than you have."
Nevertheless, in 1993, Hatch recommended Ruth Bader Ginsburg, whom he knew personally, to President Bill Clinton to fill a vacancy on the U.S. Supreme Court, even as he knew she was a political liberal. Clinton had not previously considered Ginsburg, and Hatch, as ranking member of the Senate Judiciary Committee, assured him that a Ginsburg confirmation would go smoothly.
With regards to the Senate filibuster being used to stall President Barack Obama's judicial appointments, Hatch voted against the November 2013 reforms, which eliminated the use of the filibuster on executive branch nominees and judicial nominees other than to the Supreme Court. In September 2014, Hatch argued that the filibuster should be restored, saying: "We should get it back to where it was. You can see the destruction that has happened around here." However, in November 2014, after the Republicans retook control of the Senate following the 2014 elections, Hatch wrote in The Wall Street Journal that "if Republicans re-establish the judicial-nomination filibuster, it would remain in place only until the moment that a new Democratic majority decided that discarding the rule again would be useful" and called for "the next Republican president to counteract President Obama's aggressive efforts to stack the federal courts in favor of his party's ideological agenda" by nominating conservative judges.
As an opponent of the confirmation of Merrick Garland, Hatch submitted to the Deseret News an opinion piece stating that, after meeting with Garland, his opinion on blocking Garland had not changed; the piece was published prior to Hatch's meeting with Garland. On March 13, 2016, regarding the nomination of Supreme court candidates by Obama, Hatch stated "a number of factors have led me to conclude that under current circumstances the Senate should defer the confirmation process until the next president is sworn in".
Intellectual property
Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in 1997. Hatch believes intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators.
Hatch caused an overnight controversy on June 17, 2003, by proposing that copyright owners should be able to destroy the computer equipment and information of those suspected of copyright infringement, including file sharing, he stated that "This may be the only way you can teach somebody about copyrights." In the face of criticism, especially from technology and privacy advocates, Hatch withdrew his suggestion days later, after it was discovered that Sen. Hatch's official website was using an unlicensed JavaScript menu from United Kingdom-based software developer Milonic Solutions. Milonic founder Andy Woolley stated that "We've had no contact with them. They are in breach of our licensing terms." Shortly after the publication of that story in Wired magazine, the company that runs Hatch's website contacted Milonic to start registration.
On September 20, 2010, Hatch once again attempted to outlaw websites which could be used for trademark and copyright infringement through the Combating Online Infringement and Counterfeits Act (COICA). This bill would authorize the United States Department of Justice to blacklist and censor all websites that the department deemed to be dedicated to "infringing activities".
LGBT rights
The Salt Lake Tribune reported that in 1977, Hatch told students from the University of Utah, "I wouldn't want to see homosexuals teaching school anymore than I'd want to see members of the American Nazi Party teaching school." Hatch supported the Defense of Marriage Act in 1996.
In 2012, Hatch recommended and supported District Court Judge Robert Shelby, a Barack Obama appointee, though Utah Senator Mike Lee, voted against him in the Judiciary Committee. In 2013 Shelby overturned Utah's ballot Amendment 3, which constitutionally defined marriage as between a man and a woman.
In April 2013, Hatch stated that he viewed same-sex marriage as "undermining the very basis of marital law", but declined to support a Federal Marriage Amendment and endorsed same-sex couples' right to form a civil union, stating that the law should "give gay people the same rights as married people". Later that same year, Hatch voted in favor of the Employment Non-Discrimination Act, legislation creating protected classes for those identifying as gay, lesbian, bisexual or transgender. In 2018, Hatch "honored Pride" by giving a speech in support of programs to help and serve LGBT youth.
Nuclear testing
During Hatch's first year in the Senate in 1977, reporter Gordon Eliot White of the Deseret News published the first of what would be a lengthy series of articles detailing government malfeasance in atmospheric testing of nuclear bombs at the Nevada Test Site. Over the next 13 years White's articles detailed how the government determined to proceed with the tests, and with mining and refining, without adequate safeguards for innocent citizens whose health would be damaged. Though Hatch feared an investigation would endanger the nation's nuclear deterrence versus the Soviet Union and the People's Republic of China, by 1979 he was pushing for hearings on the issue before the Senate Labor Committee. Hatch prevailed on Committee Chairman Ted Kennedy to hold field hearings in Utah in 1980. At the end of 1980, Hatch was positioned to chair the committee himself.
By 1984, Hatch had held a dozen hearings, passed legislation requiring scientific investigation of the injuries and had enlisted the aid of the National Science Foundation and National Cancer Institute, but still could not muster the votes to get a bill. When a vote was obtained in the Senate in 1985 (as an amendment to a bill to compensate Pacific Islanders for nuclear tests in the 1950s), it failed by a handful of votes. Hatch discovered a clause in the proposed Treaty of Peace and Friendship with Kiribati and Tuvalu to pay at least $100 million to residents of the Marshall Islands for injuries similar to those of Utahns, and Hatch took the treaty hostage. His hold on consideration of the treaty eventually got agreement from the Reagan administration to agree not to oppose radiation compensation for Utah citizens, but it still took another five years to get the bill through. The Radiation Exposure Compensation Act of 1990 provided compensation for citizens injured by radioactive fallout from the tests.
In December 2010, Hatch was one of twenty-six senators who voted against the ratification of New Start, a nuclear arms reduction treaty between the United States and Russian Federation obliging both countries to have no more than 1,550 strategic warheads as well as 700 launchers deployed during the next seven years along with providing a continuation of on-site inspections that halted when START I expired the previous year. It was the first arms treaty with Russia in eight years.
Opioid crisis
Hatch introduced the Ensuring Patient Access and Effective Drug Enforcement Act, narrowing the broad authority of the DEA to suspend drug "manufacturers, distributors, and dispensers". Hatch stated the bill was also written to protect patients from disruptions in the production and delivery of their prescription drugs: "The fact that prescription drugs can be abused should not prevent patients from receiving the medications they need. This bill takes a balanced approach to the problem of prescription drug abuse by clarifying penalties for manufacturing or dispensing outside approved procedures while helping to ensure that supply chains to legitimate users remain intact". The bill passed the Senate unanimously and Tom Marino passed a version of the bill in the House and was signed by President Barack Obama.
Critics of the bill claim the new law fuels the opioid crisis by limiting the DEA's ability to halt production and distribution by predatory drug companies. DEA Chief Administrative Law Judge John J. Mulrooney II wrote in the Marquette Law Review: "At a time when, by all accounts, opioid abuse, addiction and deaths were increasing markedly, this new law imposed a dramatic diminution of the agency's authority. It is now all but logically impossible for the DEA to suspend a drug company's operations for failing to comply with federal law." Donald Trump's Attorney General Jeff Sessions said he was "dubious" about the law when it passed and joined 44 state attorneys general calling for "repeal or amendment of the law to restore some of the DEA's authority." Jim Geldhof, a former DEA program manager whom spent 43 years with the DEA called the bill "outrageous. It basically takes any kind of action DEA was going to do with a distributor or manufacturer as far as an immediate suspension off the table. And then the other part of that really infuriates me is that corrective action plan." Mulrooney compared the corrective action plan to one that would "allow bank robbers to round up and return inkstained money and agree not to rob any more banks — all before any of those wrongdoers actually admit fault and without any consequence that might deter such behavior in the future."
Hatch responded to a Washington Post and 60 Minutes investigation into the bill by writing a Washington Post opinion article calling the investigation "misleading" and asking to "leave conspiracy theories to Netflix". Senator Sheldon Whitehouse, a co-sponsor of the senate bill, also defended the bill: "This bill was drafted in consultation with the DEA to offer better guidance for companies working to safely and responsibly supply prescription drugs to pharmacies, and to promote better communication and certainty between companies and regulators." Republican Pat Toomey expressed doubts that a conspiracy existed, but still suggested amending the bill: "I'm a little surprised that it passed unanimously in both houses, was signed by President Obama and got no opposition from the DEA at the time. That's not the way controversial legislation usually ends up, but hey, if there's problems, then we ought to revisit them."
Hatch received $177,000 in donations from the drug industry while pushing the bill through and has received $2,178,863 from the Pharmaceuticals/Health Products industry from 1989 to 2014 according to required filings by the Federal Election Commission.
Privacy
In 2017, Hatch voted to prevent online and telecommunication privacy protections from taking effect.
Religious freedom
Hatch was the main author of the Religious Land Use and Institutionalized Persons Act, which protected all religions' right to build church facilities on private property. In 2010, Hatch defended the right of a private organization to build a mosque on private property in downtown Manhattan, citing this law and defense of the freedom of religion.
Presidential Medal of Freedom
On November 16, 2018, President Donald Trump awarded Hatch with the highest civilian honor, the Presidential Medal of Freedom.
Other issues
In 1980, Hatch spoke in favor of rolling back provisions of the Fair Housing Act enforced by the Office of Fair Housing and Equal Opportunity. Acting on his motion in 1988, Congress eventually voted to weaken the ability of plaintiffs to prosecute cases of discriminatory treatment in housing. At the time the 1988 Fair Housing Amendments were being debated, he introduced a bill endorsed by the National Association of Realtors to severely limit who can file anti-discrimination suits and to make the proceedings a private affair.
In 1999, Hatch called for a federal probe into manufacturers of violent video games, and proposed making the existing voluntary rating system for video games (ESRB) mandatory by federal law.
Hatch pushed legislation for the Equal Opportunity to Govern Amendment, which would amend Article 2, Section I, Clause 5 of the United States Constitution. This amendment would allow anyone who has been a U.S. citizen for twenty years to seek the presidency or vice-presidency.
A vocal supporter of stem cell research, Hatch was one of 58 senators who signed a letter directed to President George W. Bush, requesting the relaxing of federal restrictions on embryonic stem cell research. In 2010, Hatch's bill was reauthorized which allowed stem cells from umbilical cords to be used to find treatment options.
In 2011, Hatch was criticized for comments he made suggesting that the rich have an unfair financial burden in the current tax system.
In June 2013, Hatch commented on a G8 proposal that tax authorities in the world's largest economies openly share information among themselves in order to fight tax evasion. The proposal has strong suggestions about ways to make companies more transparent and governments more accountable for their tax policies. Hatch stated that transparency is always a good thing, but he would like to see a bill before giving any support.
In 2017, Hatch was one of 22 senators to sign a letter to President Donald Trump urging the President to have the United States withdraw from the Paris Agreement. According to the Center for Responsive Politics, Hatch has received over $470,000 from oil, gas and coal interests since 2012.
In 2018, over the Judge Kavanaugh Supreme Court controversy, Hatch said that it did not matter even if Kavanaugh did what his accusers alleged was true. Hatch said, "If that was true, I think it would be hard for senators to not consider who the judge is today. That's the issue. Is this judge a really good man? And he is. And by any measure he is.”
Hatch voted for the impeachment of President Bill Clinton in 1999, saying "committing crimes of moral turpitude such as perjury and obstruction of justice go to the heart of qualification for public office... This great nation can tolerate a president who makes mistakes. But it cannot tolerate one who makes a mistake and then breaks the law to cover it up. Any other citizen would be prosecuted for these crimes." In 2018, in the wake of court filings that implicated President Trump in campaign finance violations and in attempting to buy the silence of women who alleged affairs with Trump, Hatch said, "I don't care, all I can say is he's doing a good job as president."
In April 2018, Hatch was one of eight Republican senators to sign a letter to United States Secretary of the Treasury Steve Mnuchin and acting Secretary of State John Sullivan expressing "deep concern" over a report by the United Nations exposing "North Korean sanctions evasion involving Russia and China" and asserting that the findings "demonstrate an elaborate and alarming military-venture between rogue, tyrannical states to avoid United States and international sanctions and inflict terror and death upon thousands of innocent people" while calling it "imperative that the United States provides a swift and appropriate response to the continued use of chemical weapons used by President Assad and his forces, and works to address the shortcomings in sanctions enforcement."
Committee assignments
Committee on Finance (Chairman)
As Chairman of the full committee, Hatch may serve as an ex officio member of all subcommittees of which he is not already a full member.
Subcommittee on International Trade, Customs, and Global Competitiveness
Subcommittee on Social Security, Pensions and Family Policy
Committee on the Judiciary
Subcommittee on Antitrust, Competition Policy and Consumer Rights
Subcommittee on Crime and Drugs
Subcommittee on Terrorism, Technology and Homeland Security
Committee on Health, Education, Labor, and Pensions
Subcommittee on Children and Families
Subcommittee on Employment and Workplace Safety
Special Committee on Aging
Joint Committee on Taxation
Impeachment Trial Committee on the Articles against Judge G. Thomas Porteous, Jr. (Vice Chair)
Caucus memberships
Afterschool Caucuses
Judd Gregg's 2011 retirement created a domino effect among high-profile Senate Republicans: Jeff Sessions took his spot as Ranking Republican on the Senate Budget Committee; Chuck Grassley in turn took his spot on the Senate Judiciary Committee, and Hatch took the top Republican spot on the Senate Finance Committee.
Lobbying ties
Hatch's son Scott Hatch was formerly a partner and registered lobbyist at Walker, Martin & Hatch LLC, a Washington lobbying firm. The firm was formed in 2001 with Jack Martin, a staff aide to Hatch for six years, and H. Laird Walker, described as a close associate of the senator. In March 2003, the Los Angeles Times reported that the firm was formed with Hatch's personal encouragement and that he saw no conflict of interest in working on issues that involved his son's clients. In 2009, the Washington Times reported that Hatch said "My son, Scott, does not lobby me or anyone in my office".
In March 2009, the Washington Times reported that the pharmaceutical industry, which has benefited from Hatch's legislative efforts, had previously unreported connections to Hatch. In 2007, five pharmaceutical companies and the industry's main trade association, Pharmaceutical Research and Manufacturers of America (PhRMA), donated $172,500 to the Utah Families Foundation—a charitable foundation which Hatch helped start in the 1990s and has continued to support since. Walker, Martin & Hatch LLC was paid $120,000 by PhRMA in 2007 to lobby Congress on pending U.S. Food and Drug Administration legislation.
Electoral history
Personal life
Hatch married Elaine Hansen on August 28, 1957. They have six children.
Hatch is a member of The Church of Jesus Christ of Latter-day Saints (LDS Church). Although he was born in Pennsylvania, his parents had been raised in Utah and he had ancestors who were members of the LDS Church in Nauvoo, Illinois. Hatch served as an LDS missionary in what was called the "Great Lakes States Mission" essentially covering large parts of Indiana, Michigan and Ohio. Hatch has since served in various positions in the LDS Church, including as a bishop.
Hatch is a founder and co-chair of the Federalist Society, an organization of conservative lawyers.
Hatch serves as a member of the board of directors of the United States Holocaust Memorial Museum. In a 1996 interview on 60 Minutes, Hatch claimed to wear a mezuzah necklace in order to remind himself that another holocaust should never be allowed to occur.
Despite their political differences, Hatch was a longtime friend of fellow senator Ted Kennedy, speaking at his memorial service and publicly suggesting Kennedy's widow as a replacement for Kennedy in the Senate.
Musical career and film appearances
Hatch plays the piano, violin and organ. Fueled by his interest in poetry, Hatch has written songs for many. He co-authored "Everything And More," sung by Billy Gilman. In addition to his job as a United States Senator, Hatch has earned over $10,000 as an LDS music recording artist.
Hatch wrote the lyrics for and participated in the recording of "Eight Days of Hanukkah" in 2009. The song's music was composed by Madeline Stone.
Hatch also has a history in arts management. In the early 1970s he was the band manager for a Mormon-themed folk group called the Free Agency. The Free Agency was made up of members of an earlier Mormon group called the Sons of Mosiah, that was formed when guitarist David Zandonatti and vocalist Ron McNeeley relocated to Utah after their San Francisco based psychedelic group Tripsichord Music Box disbanded in 1971. The group also included Lynn Bryson and Alan Cherry.
Rock musician Frank Zappa composed a guitar instrumental entitled "Orrin Hatch On Skis," which appears on his 1988 album, Guitar.
In March 1997, Orrin Hatch and Janice Kapp Perry jointly recorded an album of music with Tree Music entitled "My God Is Love". Later albums with Perry included "Come to the Manger".
Hatch and Janice Kapp Perry co-wrote the song "Heal Our Land", which was performed at George W. Bush's January 2005 inauguration.
Hatch appeared as himself, alongside Chuck Grassley, in Steven Soderbergh's Oscar-winning drama Traffic, in a brief cameo in a scene set during a Washington D.C. cocktail party. Soderbergh later featured one of Hatch's songs, Souls Along The Way, in his film Ocean's 12 as background music for a scene in Hatch's home state Utah.
Hatch's likeness was featured in the 30 Rock episode "Jack Gets in the Game" as one of Dr. Leo Spaceman's famous clients.
In 2009, at the request of The Atlantic correspondent Jeffrey Goldberg, Hatch authored the lyrics to "Eight Days of Hanukkah", described by Goldberg as "a hip hop Hannukah song written by the senior senator from Utah."
Hatch appeared in a scene in the Parks and Recreation episode "Ms. Ludgate-Dwyer Goes to Washington" alongside Cory Booker.
Hatch along with Lowell Alexander and Phil Naish composed the song, "Blades Of Grass And Pure White Stones".
Writing
Orrin Hatch, The Equal Rights Amendment: Myths and Realities, Savant Press (1983)
Orrin Hatch, Higher Laws: Understanding the Doctrines of Christ , Shadow Mountain (June 1995)
Orrin Hatch, Square Peg: Confessions of a Citizen Senator, Basic Books (October 15, 2002)
Hatch's autobiography describes the challenges of balancing home and professional life as a Senator, and recounts anecdotes from his campaign experience and some of his higher-profile assignments in the Senate, such as the Confirmation Hearings of Robert Bork and Clarence Thomas.
Orrin Hatch, Orrin Hatch, the L.D.S. Mormon Politician as Songwriter, text of an interview of Orrin Hatch by Phillip K. Bimstein, in Washington, D.C., August 14, 2003, transcribed by Jonathan Murphy, New York City, American Music Center, 2003, without ISBN.
Hatch also is the author of several law review articles.
Honors
Hatch has been awarded the following:
Commander of the Order of the Star of Romania, Romania (June 8, 2017)
Order of Duke Branimir, Republic of Croatia (October 29, 2018)
Presidential Medal of Freedom (November 16, 2018)
Secretary of the Air Force Distinguished Public Service Award (December 11, 2018)
See also
Hatch-Waxman Act
Internet Community Ports Act
Pirate Act
References
External links
Collected news and commentary at The Salt Lake Tribune
Profile at SourceWatch
Orrin Hatch papers, 1861
Orrin Hatch papers, MSS 6057 at L. Tom Perry Special Collections, Brigham Young University
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1934 births
Candidates in the 2000 United States presidential election
20th-century American politicians
20th-century Mormon missionaries
21st-century American politicians
American Latter Day Saint hymnwriters
American leaders of The Church of Jesus Christ of Latter-day Saints
American Mormon missionaries in the United States
American performers of Christian music
Brigham Young University alumni
Information Technology and Innovation Foundation
Latter Day Saints from Pennsylvania
Latter Day Saints from Utah
Living people
Mitt Romney
Pennsylvania lawyers
Politicians from Pittsburgh
Presidential Medal of Freedom recipients
Presidents pro tempore of the United States Senate
Commanders of the Order of the Star of Romania
Republican Party United States senators
United States senators from Utah
University of Pittsburgh School of Law alumni
Utah lawyers
Utah Republicans
Writers from Utah
Federalist Society members
American composers
Conservatism in the United States
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[
"The Intellectual Property Act 2014 is an Act of the Parliament of the United Kingdom that received Royal Assent on 14 May 2014 after being introduced on 9 May 2013. The purpose of the legislation was to update copyright law, in particular design and patent law. The law arose as a result of the Hargreaves Review of Intellectual Property and Growth.\n\nReferences\n\nUnited Kingdom Acts of Parliament 2014",
"Canadian property law, or property law in Canada, is the body of law concerning the rights of individuals over land, objects, and expression within Canada. It encompasses personal property, real property, and intellectual property. Unlike multiple other first world countries, the right to own property is only included through the Bill of Rights, an ordinary Federal law, rather than constitutionalized through the Canadian Charter of Rights and Freedoms.\n\nPersonal property laws are typically governed by provincial legislation such as the provincial Sale of Goods Acts. Likewise, the common law rules inherited from the United Kingdom are largely still in force.\ne\nReal property law is likewise a matter of provincial legislation with the incorporation of English common law rules.\n\nIntellectual property, as with most common law countries, remains entirely based in federal statute; however, there are common-law economic torts related to intellectual property, e.g., passing off. Canada tried to take the middle road between the United Kingdom and the United States in many of their intellectual property laws. Copyright law and trademark law in Canada was initially based on the English legislation but has since incorporated many changes from the US model and other places. Canadian patent law, however, was initially based on US legislation but has typically favoured the application of UK case law.\n\nReferences"
] |
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"Orrin Hatch",
"Intellectual property",
"Has HAtch introduced legislation about intellectual property?",
"Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in"
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C_5e15fa53c20c407a90a91f3dbb34f823_1
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What does the Copyright Term Extension Act do?
| 2 |
What does the Copyright Term Extension Act do?
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Orrin Hatch
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Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in 1997. Hatch believes intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators. Hatch caused an overnight controversy on June 17, 2003 by proposing that copyright owners should be able to destroy the computer equipment and information of those suspected of copyright infringement, including file sharing, he stated that "This may be the only way you can teach somebody about copyrights." In the face of criticism, especially from technology and privacy advocates, Hatch withdrew his suggestion days later, after it was discovered that Sen. Hatch's official website was using an unlicensed JavaScript menu from United Kingdom-based software developer Milonic Solutions. Milonic founder Andy Woolley stated that "We've had no contact with them. They are in breach of our licensing terms." Shortly after the publication of that story in Wired magazine, the company that runs Hatch's website contacted Milonic to start registration. One year later, he proposed the controversial INDUCE Act that attempted to make illegal all tools that could be used for copyright infringement if said tools were intentionally used for illegal copyright infringement. On September 20, 2010, Hatch once again attempted to outlaw websites which could be used for trademark and copyright infringement through the Combating Online Infringement and Counterfeits Act (COICA). This bill would authorize the United States Department of Justice to blacklist and censor all websites that the department deemed to be dedicated to "infringing activities". CANNOTANSWER
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intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators.
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Orrin Grant Hatch (born March 22, 1934) is an American attorney, retired politician, and composer who served as a United States Senator from Utah for 42 years (1977–2019). He is the longest-serving Republican U.S. Senator in history and the longest-serving U.S. Senator from Utah.
Hatch chaired the Senate Committee on Health, Education, Labor, and Pensions from 1981 to 1987. He also served as chair of the Senate Judiciary Committee from 1995 to 2001 and 2003 to 2005. On January 3, 2015, after the 114th United States Congress was sworn in, Hatch became President pro tempore of the Senate. He served as chairman of the Senate Finance Committee from 2015 to 2019. Hatch led the efforts to pass the Tax Cuts and Jobs Act of 2017. He retired in January 2019 and was succeeded by the 2012 Republican presidential nominee, Mitt Romney.
Early life and education
Orrin Grant Hatch was born and raised in Pittsburgh, Pennsylvania. He is the son of Jesse Hatch (1904–1992), a metal lather, and his wife Helen Frances Hatch (née Kamm; 1906–1995). Hatch had eight brothers and sisters, two of whom did not survive infancy. Hatch was profoundly affected by the loss of his older brother Jesse, a U.S. Army Air Forces nose turret gunner with the 725th Bombardment Squadron who was killed on February 7, 1945, when the B-24 he was aboard was shot down over Austria.
Hatch, who grew up in poverty, was the first in his family to attend college; he attended Brigham Young University and received a B.A. degree in history in 1959. He also fought 11 bouts as an amateur boxer. In 1962, Hatch received a J.D. degree from the University of Pittsburgh School of Law. Hatch has stated that during law school, he and his young family resided in a refurbished chicken coop behind his parents' house. Hatch worked as an attorney in Pittsburgh and moved to Utah in 1969, where he continued to practice law.
Elections
In 1976, in his first run for public office, Hatch was elected to the United States Senate, defeating Democrat Frank Moss, a three-term incumbent. Hatch criticized Moss's 18-year tenure in the Senate, saying, "What do you call a Senator who's served in office for 18 years? You call him home." Hatch ran on the promise of term limits and argued that many Senators, including Moss, had lost touch with their constituents.
In 1982, Hatch won re-election, defeating Mayor of Salt Lake City Ted Wilson by 17 points. He defeated Brian Moss (Frank Moss' son) by 35 points in 1988 and was re-elected in 1994, 2000, 2006, and 2012.
In 2000, Hatch sought the Republican presidential nomination. After finishing last in the Iowa caucuses, Hatch withdrew his candidacy on January 27, 2000, and endorsed eventual winner George W. Bush.
2012 Senate election
After the defeat of Utah's Senator Bob Bennett in 2010, conjecture began as to whether six-term Senator Hatch would retire in 2012. It was also speculated that Congressman Jason Chaffetz would run against Hatch, though Chaffetz would later decline. In January 2011, Hatch announced his campaign for re-election. Later, nine other Republicans, including former State Senator Dan Liljenquist and then-State Legislator Chris Herrod, declared campaigns for U.S. Senator.
Having elected state delegates in mid-March, both the Democratic and Republican parties held conventions on April 21, with the possibilities to determine their nominees for the November general election. At the Republican convention, Hatch failed to get the 60% vote needed to clinch the Republican nomination, so he faced Liljenquist (the second-place winner) in the primary June 26. Hatch won the primary easily. It was Hatch's first primary competition since his election in 1976. The Democratic convention chose former state Senator and IBM executive Scott Howell as the Democratic Party candidate. Hatch defeated Howell, receiving 65.2% of the vote to Howell's 30.2%.
2016 presidential endorsements
In the 2016 presidential election, Hatch originally supported former Florida Governor Jeb Bush and later endorsed Florida Senator Marco Rubio once Bush ended his campaign. On May 12, 2016, after Donald Trump became the presumptive Republican presidential nominee, Hatch endorsed him. On May 27, 2016, after Trump suggested that a federal judge Gonzalo P. Curiel was biased against Trump because of his Mexican heritage, Hatch said: "From what I know about Trump, he's not a racist but he does make a lot of outrageous statements...I think you can criticize a judge but it ought to be done in a formal way" and said that Trump's statements were not so inappropriate that he would rescind his support. On October 7, 2016, following the Donald Trump Access Hollywood controversy, Hatch described Trump's comments as "offensive and disgusting" and said that "[there] is no excuse for such degrading behavior. All women deserve to be treated with respect." Hatch maintained his endorsement of Trump's candidacy.
U.S. Senate tenure
Hatch took office as a U.S. senator on January 3, 1977. He chaired the Senate Committee on Health, Education, Labor, and Pensions from 1981 to 1987. He also served as chair of the Senate Judiciary Committee and the Senate Finance Committee.
In September 1989, Hatch was one of nine Republican senators appointed by Senate Republican Leader Robert Dole to negotiate a dispute with Democrats over the financing of President Bush's anti-drug plan that called for spending $7.8 billion by the following year as part of the president's efforts to address narcotics nationwide and abroad.
Hatch expressed interest in serving on the United States Supreme Court. It was reported that he was on Ronald Reagan's short list of candidates to succeed Lewis F. Powell Jr. on the Supreme Court, but was passed over at least in part because of the Ineligibility Clause. Despite that, he vocally supported Robert Bork, who was chosen instead.
Hatch "worked across the aisle to pass landmark legislation, including the Americans with Disabilities Act and the Children's Health Insurance Program". During the 1991 confirmation hearings regarding the Supreme Court nomination of Clarence Thomas, Hatch "famously defended Thomas...by reading aloud from 'The Exorcist' to suggest Anita Hill lifted details of her sexual harassment allegations from the horror book".
On January 3, 2015, after the 114th United States Congress was sworn in, Hatch became President pro tempore of the Senate.
Hatch was absent from the 2017 Inauguration Day festivities. At the request of President-elect Donald Trump, he agreed to serve as designated survivor during the inauguration and was kept at a secure, undisclosed location.
On December 25, 2017, the Salt Lake Tribune published an editorial entitled "Why Orrin Hatch is Utahn of the Year." The newspaper described its criteria for the designation as "Utahn of the Year" as "the Utahn who, over the past 12 months, has done the most. Has made the most news. Has had the biggest impact. For good or for ill." The editorial criticized Hatch for his role in the size reduction of the Grand Staircase-Escalante National Monument and the passage of the Tax Cuts and Jobs Act of 2017 and accused him of lacking integrity.
Hatch announced on January 2, 2018, that he would retire from the Senate instead of seeking re-election that November. Hatch retired from the Senate on January 3, 2019, having served there for 42 years. At the time of his retirement announcement, he was the longest-serving U.S. Senator in Utah history (having eclipsed previous record-holder Reed Smoot in 2007), the longest-serving Republican U.S. Senator in the history of Congress, and also one of the longest-serving Republican members of Congress in the history of the United States. Hatch surpassed fellow senators Ted Stevens and Strom Thurmond, who joined the Republican Party in 1964, and was later surpassed by Chuck Grassley and Don Young.
Political positions and votes
Abortion
Hatch was strongly opposed to abortion and was the author of the Hatch Amendment to the Constitution, which stated that there is no constitutional right to abortion and empowered the states to restrict abortion as they saw fit.
Anti-terrorism
In 1995, Hatch was the leading figure behind the senate's anti-terrorism bill, to a large extent a response to the Oklahoma City Bombing. Elements of the bill were criticised by the Anti-Defamation League and American Jewish Committee on civil liberties grounds, especially the new limits imposed on habeas corpus in capital cases.
As a senior member of the Senate Select Intelligence Committee, Hatch was also instrumental in the 2008 extension of the Foreign Intelligence Surveillance Act. He said, "This bipartisan bill will help defeat terrorism and keep America safe. No, the legislation is not perfect, but it ensures that the increased expansion of the judiciary into foreign intelligence gathering doesn't unnecessarily hamper our intelligence community."
Bailouts
Hatch voted in favor of the 2008 legislation that established the Troubled Asset Relief Program (TARP). In 2011, Hatch said that he "probably made a mistake voting for it", and also claimed "at the time, we were in real trouble and it looked like we were ready for a depression. I believe we would have gone into a depression."
He voted against the renewal of TARP in 2009, and the renewal was voted down by 10 votes in the Senate.
Hatch voted in favor of the Housing and Economic Recovery Act of 2008. The bill authorized $300 billion to guarantee mortgages and restore confidence in Fannie Mae and Freddie Mac.
Balanced budget amendment
Hatch has been a longtime advocate of amending the United States Constitution to require that total spending of the federal government for any fiscal year not exceed total receipts.
During his time in the Senate, Hatch has sponsored a balanced budget amendment 17 times—4 times as lead sponsor and 13 times as a co-sponsor. He also voted in favor of passing a Balanced Budget Amendment on at least 9 occasions. Hatch's proposed amendment passed the House of Representatives in 1997, but failed to pass the Senate by the required two-thirds majority by one vote to move on the states for ratification.
Bank of Credit and Commerce International
In January 1990, the federal judge in a case against the Bank of Credit and Commerce International (BCCI) accepted a 1989 plea bargain offered to the bank by the U.S. Department of Justice. The bank was to pay $15 million in fines and only admit that it had laundered drug money. Afterward, Hatch presented an impassioned defense of the bank in a speech on the Senate floor. It had been largely written for him by the bank's attorney Robert Altman. Hatch said, "The case arose from the conduct of a small number of B.C.C.I.'s more than 14,000 employees." Since 1989, Hatch and his aide, Michael Pillsbury, had been involved in efforts to counter the negative publicity that surrounded the bank. Hatch had also solicited the bank to approve a $10 million loan to a close friend, Monzer Hourani. In 1991, B.C.C.I. was shut down after regulators accused it of one of the biggest international financial frauds in history. Law enforcement officials accused the bank of making bribes throughout the third world to arrange government deposits. Clark Clifford, a former presidential advisor and Defense Secretary, and Altman, his law partner, were charged with taking bribes from B.C.C.I., in exchange for concealing its illegal ownership of First American Bankshares, a Washington holding company which Clifford chaired. Both had denied the charges, which were filed in New York State and Federal courts. In 1992, in a "Report to the Committee on Foreign Relations of the United States Senate," prepared by committee members, U.S. Senators John Kerry (D-MA) and Hank Brown (R-CO), noted that a key strategy of "BCCI's successful secret acquisitions of U.S. banks in the face of regulatory suspicion was its aggressive use of a series of prominent Americans," Clifford amongst them. The relationship with Hourani included the receipt of campaign contributions laundered through his employees, for which Hourani was fined $10,000, as well as his purchase of 1,200 CDs of Hatch's songs, for which Hatch received $3 to $7 each, and the management of a blind trust for Hatch. These led to a Senate Ethics Committee investigation, by which Hatch was eventually cleared.
Energy
As chairman of the Senate Finance Committee, Hatch has investigated the use of what are known as Section 1603 grants and tax credits. The Section 1603 program was created in President Barack Obama's 2009 stimulus package with the intention of subsidizing green energy production. Since 2009, the federal government has given out $25 billion in cash grants on behalf of the program. Hatch has investigated the program on several occasions. On June 9, 2016, his office requested from Department of Treasury, the Internal Revenue Service (IRS) and the Treasury Inspector General for Tax Administration (TIGTA) details about how companies use the program. In March 2016, Hatch asked the IRS and Treasury Department to demonstrate that the agencies use safeguards and coordinate with each other when reviewing applications for Section 1603 grants. Per his June letter to Treasury Secretary Jack Lew, the agencies have cooperated with Hatch's investigation.
Health care reform
Hatch opposed President Barack Obama's health reform legislation; he voted against the Affordable Care Act in December 2009, and he voted against the Health Care and Education Reconciliation Act of 2010.
Hatch has argued that the insurance mandate found in the legislation is not in the category that can be covered by the interstate commerce clause since it regulates the decision to engage in commercial activity rather than regulating the activity itself. He therefore regards the Act as unconstitutional. NPR called Hatch a "flip-flopper" on this issue since in 1993 Hatch co-sponsored a bill along with 19 other Senate Republicans that included an individual insurance mandate as a means to combat healthcare legislation proposed by Hillary Clinton. In 2018, Hatch said that Obamacare supporters were "the stupidest, dumbass people I've ever met".
Hatch was one of the first Senators to suggest that the individual mandate was unconstitutional and promised to work on dismantling it when he becomes the Finance Committee Chairman. Hatch was part of the group of 13 Senators drafting the Senate version of the AHCA behind closed doors.
In 2003, Hatch supported the Medicare prescription drug benefit plan known as Medicare Part D. Responding to criticism of the legislation during the 2009 debate on health care reform, Hatch said that in 2003 "it was standard practice not to pay for things" and that although there was concern at the time about increasing the deficit, supporting the bill was justified because it "has done a lot of good".
On March 25, 2014, Hatch cosponsored the Emergency Medical Services for Children Reauthorization Act of 2014 in the Senate. The bill that would amend the Public Health Service Act to reauthorize the Emergency Medical Services for Children Program through FY2019. The bill would authorize appropriations of about $20 million in 2015 and $101 million over the 2015–2019 period. Hatch argued that "children require specialized medical care, and that specialized care comes with unique challenges. The EMSC program helps ensure that some of our country's most vulnerable have access to the care they need, and I've been proud to support it all these years."
Immigration
Hatch was one of the architects and advocates of the expansion of H-1B visas and has generally been an advocate of tougher enforcement immigration policy including voting for 1,500 new law enforcement agents to patrol the border. His 2010 Immigration Bill titled Strengthening Our Commitment to Legal Immigration and America's Security Act has received the support of the Center for Immigration Studies (CIS). He also proposed the DREAM Act, which would provide a pathway to citizenship for the children of undocumented immigrants, who were children when their parents came to the United States.
Hatch critiqued President Donald Trump's 2017 executive order to temporarily suspend immigration from seven Muslim countries until better screening methods are devised. He reflected on his own family's immigration history and described the order as placing "unnecessary burdens" on families.
Judicial nominations
As ranking minority member of the Senate Judiciary Committee, Hatch fought hard to get conservative judges nominated to the Supreme Court. He took a leading role in the Senate confirmation hearings of Clarence Thomas in October 1991. He was also a strong supporter of Jay Bybee during Bybee's confirmation hearings for a seat on the United States Court of Appeals for the Ninth Circuit, stating "I've seen a lot of people around and a lot of judges and I don't know of anybody who has any greater qualifications or any greater ability in the law than you have."
Nevertheless, in 1993, Hatch recommended Ruth Bader Ginsburg, whom he knew personally, to President Bill Clinton to fill a vacancy on the U.S. Supreme Court, even as he knew she was a political liberal. Clinton had not previously considered Ginsburg, and Hatch, as ranking member of the Senate Judiciary Committee, assured him that a Ginsburg confirmation would go smoothly.
With regards to the Senate filibuster being used to stall President Barack Obama's judicial appointments, Hatch voted against the November 2013 reforms, which eliminated the use of the filibuster on executive branch nominees and judicial nominees other than to the Supreme Court. In September 2014, Hatch argued that the filibuster should be restored, saying: "We should get it back to where it was. You can see the destruction that has happened around here." However, in November 2014, after the Republicans retook control of the Senate following the 2014 elections, Hatch wrote in The Wall Street Journal that "if Republicans re-establish the judicial-nomination filibuster, it would remain in place only until the moment that a new Democratic majority decided that discarding the rule again would be useful" and called for "the next Republican president to counteract President Obama's aggressive efforts to stack the federal courts in favor of his party's ideological agenda" by nominating conservative judges.
As an opponent of the confirmation of Merrick Garland, Hatch submitted to the Deseret News an opinion piece stating that, after meeting with Garland, his opinion on blocking Garland had not changed; the piece was published prior to Hatch's meeting with Garland. On March 13, 2016, regarding the nomination of Supreme court candidates by Obama, Hatch stated "a number of factors have led me to conclude that under current circumstances the Senate should defer the confirmation process until the next president is sworn in".
Intellectual property
Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in 1997. Hatch believes intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators.
Hatch caused an overnight controversy on June 17, 2003, by proposing that copyright owners should be able to destroy the computer equipment and information of those suspected of copyright infringement, including file sharing, he stated that "This may be the only way you can teach somebody about copyrights." In the face of criticism, especially from technology and privacy advocates, Hatch withdrew his suggestion days later, after it was discovered that Sen. Hatch's official website was using an unlicensed JavaScript menu from United Kingdom-based software developer Milonic Solutions. Milonic founder Andy Woolley stated that "We've had no contact with them. They are in breach of our licensing terms." Shortly after the publication of that story in Wired magazine, the company that runs Hatch's website contacted Milonic to start registration.
On September 20, 2010, Hatch once again attempted to outlaw websites which could be used for trademark and copyright infringement through the Combating Online Infringement and Counterfeits Act (COICA). This bill would authorize the United States Department of Justice to blacklist and censor all websites that the department deemed to be dedicated to "infringing activities".
LGBT rights
The Salt Lake Tribune reported that in 1977, Hatch told students from the University of Utah, "I wouldn't want to see homosexuals teaching school anymore than I'd want to see members of the American Nazi Party teaching school." Hatch supported the Defense of Marriage Act in 1996.
In 2012, Hatch recommended and supported District Court Judge Robert Shelby, a Barack Obama appointee, though Utah Senator Mike Lee, voted against him in the Judiciary Committee. In 2013 Shelby overturned Utah's ballot Amendment 3, which constitutionally defined marriage as between a man and a woman.
In April 2013, Hatch stated that he viewed same-sex marriage as "undermining the very basis of marital law", but declined to support a Federal Marriage Amendment and endorsed same-sex couples' right to form a civil union, stating that the law should "give gay people the same rights as married people". Later that same year, Hatch voted in favor of the Employment Non-Discrimination Act, legislation creating protected classes for those identifying as gay, lesbian, bisexual or transgender. In 2018, Hatch "honored Pride" by giving a speech in support of programs to help and serve LGBT youth.
Nuclear testing
During Hatch's first year in the Senate in 1977, reporter Gordon Eliot White of the Deseret News published the first of what would be a lengthy series of articles detailing government malfeasance in atmospheric testing of nuclear bombs at the Nevada Test Site. Over the next 13 years White's articles detailed how the government determined to proceed with the tests, and with mining and refining, without adequate safeguards for innocent citizens whose health would be damaged. Though Hatch feared an investigation would endanger the nation's nuclear deterrence versus the Soviet Union and the People's Republic of China, by 1979 he was pushing for hearings on the issue before the Senate Labor Committee. Hatch prevailed on Committee Chairman Ted Kennedy to hold field hearings in Utah in 1980. At the end of 1980, Hatch was positioned to chair the committee himself.
By 1984, Hatch had held a dozen hearings, passed legislation requiring scientific investigation of the injuries and had enlisted the aid of the National Science Foundation and National Cancer Institute, but still could not muster the votes to get a bill. When a vote was obtained in the Senate in 1985 (as an amendment to a bill to compensate Pacific Islanders for nuclear tests in the 1950s), it failed by a handful of votes. Hatch discovered a clause in the proposed Treaty of Peace and Friendship with Kiribati and Tuvalu to pay at least $100 million to residents of the Marshall Islands for injuries similar to those of Utahns, and Hatch took the treaty hostage. His hold on consideration of the treaty eventually got agreement from the Reagan administration to agree not to oppose radiation compensation for Utah citizens, but it still took another five years to get the bill through. The Radiation Exposure Compensation Act of 1990 provided compensation for citizens injured by radioactive fallout from the tests.
In December 2010, Hatch was one of twenty-six senators who voted against the ratification of New Start, a nuclear arms reduction treaty between the United States and Russian Federation obliging both countries to have no more than 1,550 strategic warheads as well as 700 launchers deployed during the next seven years along with providing a continuation of on-site inspections that halted when START I expired the previous year. It was the first arms treaty with Russia in eight years.
Opioid crisis
Hatch introduced the Ensuring Patient Access and Effective Drug Enforcement Act, narrowing the broad authority of the DEA to suspend drug "manufacturers, distributors, and dispensers". Hatch stated the bill was also written to protect patients from disruptions in the production and delivery of their prescription drugs: "The fact that prescription drugs can be abused should not prevent patients from receiving the medications they need. This bill takes a balanced approach to the problem of prescription drug abuse by clarifying penalties for manufacturing or dispensing outside approved procedures while helping to ensure that supply chains to legitimate users remain intact". The bill passed the Senate unanimously and Tom Marino passed a version of the bill in the House and was signed by President Barack Obama.
Critics of the bill claim the new law fuels the opioid crisis by limiting the DEA's ability to halt production and distribution by predatory drug companies. DEA Chief Administrative Law Judge John J. Mulrooney II wrote in the Marquette Law Review: "At a time when, by all accounts, opioid abuse, addiction and deaths were increasing markedly, this new law imposed a dramatic diminution of the agency's authority. It is now all but logically impossible for the DEA to suspend a drug company's operations for failing to comply with federal law." Donald Trump's Attorney General Jeff Sessions said he was "dubious" about the law when it passed and joined 44 state attorneys general calling for "repeal or amendment of the law to restore some of the DEA's authority." Jim Geldhof, a former DEA program manager whom spent 43 years with the DEA called the bill "outrageous. It basically takes any kind of action DEA was going to do with a distributor or manufacturer as far as an immediate suspension off the table. And then the other part of that really infuriates me is that corrective action plan." Mulrooney compared the corrective action plan to one that would "allow bank robbers to round up and return inkstained money and agree not to rob any more banks — all before any of those wrongdoers actually admit fault and without any consequence that might deter such behavior in the future."
Hatch responded to a Washington Post and 60 Minutes investigation into the bill by writing a Washington Post opinion article calling the investigation "misleading" and asking to "leave conspiracy theories to Netflix". Senator Sheldon Whitehouse, a co-sponsor of the senate bill, also defended the bill: "This bill was drafted in consultation with the DEA to offer better guidance for companies working to safely and responsibly supply prescription drugs to pharmacies, and to promote better communication and certainty between companies and regulators." Republican Pat Toomey expressed doubts that a conspiracy existed, but still suggested amending the bill: "I'm a little surprised that it passed unanimously in both houses, was signed by President Obama and got no opposition from the DEA at the time. That's not the way controversial legislation usually ends up, but hey, if there's problems, then we ought to revisit them."
Hatch received $177,000 in donations from the drug industry while pushing the bill through and has received $2,178,863 from the Pharmaceuticals/Health Products industry from 1989 to 2014 according to required filings by the Federal Election Commission.
Privacy
In 2017, Hatch voted to prevent online and telecommunication privacy protections from taking effect.
Religious freedom
Hatch was the main author of the Religious Land Use and Institutionalized Persons Act, which protected all religions' right to build church facilities on private property. In 2010, Hatch defended the right of a private organization to build a mosque on private property in downtown Manhattan, citing this law and defense of the freedom of religion.
Presidential Medal of Freedom
On November 16, 2018, President Donald Trump awarded Hatch with the highest civilian honor, the Presidential Medal of Freedom.
Other issues
In 1980, Hatch spoke in favor of rolling back provisions of the Fair Housing Act enforced by the Office of Fair Housing and Equal Opportunity. Acting on his motion in 1988, Congress eventually voted to weaken the ability of plaintiffs to prosecute cases of discriminatory treatment in housing. At the time the 1988 Fair Housing Amendments were being debated, he introduced a bill endorsed by the National Association of Realtors to severely limit who can file anti-discrimination suits and to make the proceedings a private affair.
In 1999, Hatch called for a federal probe into manufacturers of violent video games, and proposed making the existing voluntary rating system for video games (ESRB) mandatory by federal law.
Hatch pushed legislation for the Equal Opportunity to Govern Amendment, which would amend Article 2, Section I, Clause 5 of the United States Constitution. This amendment would allow anyone who has been a U.S. citizen for twenty years to seek the presidency or vice-presidency.
A vocal supporter of stem cell research, Hatch was one of 58 senators who signed a letter directed to President George W. Bush, requesting the relaxing of federal restrictions on embryonic stem cell research. In 2010, Hatch's bill was reauthorized which allowed stem cells from umbilical cords to be used to find treatment options.
In 2011, Hatch was criticized for comments he made suggesting that the rich have an unfair financial burden in the current tax system.
In June 2013, Hatch commented on a G8 proposal that tax authorities in the world's largest economies openly share information among themselves in order to fight tax evasion. The proposal has strong suggestions about ways to make companies more transparent and governments more accountable for their tax policies. Hatch stated that transparency is always a good thing, but he would like to see a bill before giving any support.
In 2017, Hatch was one of 22 senators to sign a letter to President Donald Trump urging the President to have the United States withdraw from the Paris Agreement. According to the Center for Responsive Politics, Hatch has received over $470,000 from oil, gas and coal interests since 2012.
In 2018, over the Judge Kavanaugh Supreme Court controversy, Hatch said that it did not matter even if Kavanaugh did what his accusers alleged was true. Hatch said, "If that was true, I think it would be hard for senators to not consider who the judge is today. That's the issue. Is this judge a really good man? And he is. And by any measure he is.”
Hatch voted for the impeachment of President Bill Clinton in 1999, saying "committing crimes of moral turpitude such as perjury and obstruction of justice go to the heart of qualification for public office... This great nation can tolerate a president who makes mistakes. But it cannot tolerate one who makes a mistake and then breaks the law to cover it up. Any other citizen would be prosecuted for these crimes." In 2018, in the wake of court filings that implicated President Trump in campaign finance violations and in attempting to buy the silence of women who alleged affairs with Trump, Hatch said, "I don't care, all I can say is he's doing a good job as president."
In April 2018, Hatch was one of eight Republican senators to sign a letter to United States Secretary of the Treasury Steve Mnuchin and acting Secretary of State John Sullivan expressing "deep concern" over a report by the United Nations exposing "North Korean sanctions evasion involving Russia and China" and asserting that the findings "demonstrate an elaborate and alarming military-venture between rogue, tyrannical states to avoid United States and international sanctions and inflict terror and death upon thousands of innocent people" while calling it "imperative that the United States provides a swift and appropriate response to the continued use of chemical weapons used by President Assad and his forces, and works to address the shortcomings in sanctions enforcement."
Committee assignments
Committee on Finance (Chairman)
As Chairman of the full committee, Hatch may serve as an ex officio member of all subcommittees of which he is not already a full member.
Subcommittee on International Trade, Customs, and Global Competitiveness
Subcommittee on Social Security, Pensions and Family Policy
Committee on the Judiciary
Subcommittee on Antitrust, Competition Policy and Consumer Rights
Subcommittee on Crime and Drugs
Subcommittee on Terrorism, Technology and Homeland Security
Committee on Health, Education, Labor, and Pensions
Subcommittee on Children and Families
Subcommittee on Employment and Workplace Safety
Special Committee on Aging
Joint Committee on Taxation
Impeachment Trial Committee on the Articles against Judge G. Thomas Porteous, Jr. (Vice Chair)
Caucus memberships
Afterschool Caucuses
Judd Gregg's 2011 retirement created a domino effect among high-profile Senate Republicans: Jeff Sessions took his spot as Ranking Republican on the Senate Budget Committee; Chuck Grassley in turn took his spot on the Senate Judiciary Committee, and Hatch took the top Republican spot on the Senate Finance Committee.
Lobbying ties
Hatch's son Scott Hatch was formerly a partner and registered lobbyist at Walker, Martin & Hatch LLC, a Washington lobbying firm. The firm was formed in 2001 with Jack Martin, a staff aide to Hatch for six years, and H. Laird Walker, described as a close associate of the senator. In March 2003, the Los Angeles Times reported that the firm was formed with Hatch's personal encouragement and that he saw no conflict of interest in working on issues that involved his son's clients. In 2009, the Washington Times reported that Hatch said "My son, Scott, does not lobby me or anyone in my office".
In March 2009, the Washington Times reported that the pharmaceutical industry, which has benefited from Hatch's legislative efforts, had previously unreported connections to Hatch. In 2007, five pharmaceutical companies and the industry's main trade association, Pharmaceutical Research and Manufacturers of America (PhRMA), donated $172,500 to the Utah Families Foundation—a charitable foundation which Hatch helped start in the 1990s and has continued to support since. Walker, Martin & Hatch LLC was paid $120,000 by PhRMA in 2007 to lobby Congress on pending U.S. Food and Drug Administration legislation.
Electoral history
Personal life
Hatch married Elaine Hansen on August 28, 1957. They have six children.
Hatch is a member of The Church of Jesus Christ of Latter-day Saints (LDS Church). Although he was born in Pennsylvania, his parents had been raised in Utah and he had ancestors who were members of the LDS Church in Nauvoo, Illinois. Hatch served as an LDS missionary in what was called the "Great Lakes States Mission" essentially covering large parts of Indiana, Michigan and Ohio. Hatch has since served in various positions in the LDS Church, including as a bishop.
Hatch is a founder and co-chair of the Federalist Society, an organization of conservative lawyers.
Hatch serves as a member of the board of directors of the United States Holocaust Memorial Museum. In a 1996 interview on 60 Minutes, Hatch claimed to wear a mezuzah necklace in order to remind himself that another holocaust should never be allowed to occur.
Despite their political differences, Hatch was a longtime friend of fellow senator Ted Kennedy, speaking at his memorial service and publicly suggesting Kennedy's widow as a replacement for Kennedy in the Senate.
Musical career and film appearances
Hatch plays the piano, violin and organ. Fueled by his interest in poetry, Hatch has written songs for many. He co-authored "Everything And More," sung by Billy Gilman. In addition to his job as a United States Senator, Hatch has earned over $10,000 as an LDS music recording artist.
Hatch wrote the lyrics for and participated in the recording of "Eight Days of Hanukkah" in 2009. The song's music was composed by Madeline Stone.
Hatch also has a history in arts management. In the early 1970s he was the band manager for a Mormon-themed folk group called the Free Agency. The Free Agency was made up of members of an earlier Mormon group called the Sons of Mosiah, that was formed when guitarist David Zandonatti and vocalist Ron McNeeley relocated to Utah after their San Francisco based psychedelic group Tripsichord Music Box disbanded in 1971. The group also included Lynn Bryson and Alan Cherry.
Rock musician Frank Zappa composed a guitar instrumental entitled "Orrin Hatch On Skis," which appears on his 1988 album, Guitar.
In March 1997, Orrin Hatch and Janice Kapp Perry jointly recorded an album of music with Tree Music entitled "My God Is Love". Later albums with Perry included "Come to the Manger".
Hatch and Janice Kapp Perry co-wrote the song "Heal Our Land", which was performed at George W. Bush's January 2005 inauguration.
Hatch appeared as himself, alongside Chuck Grassley, in Steven Soderbergh's Oscar-winning drama Traffic, in a brief cameo in a scene set during a Washington D.C. cocktail party. Soderbergh later featured one of Hatch's songs, Souls Along The Way, in his film Ocean's 12 as background music for a scene in Hatch's home state Utah.
Hatch's likeness was featured in the 30 Rock episode "Jack Gets in the Game" as one of Dr. Leo Spaceman's famous clients.
In 2009, at the request of The Atlantic correspondent Jeffrey Goldberg, Hatch authored the lyrics to "Eight Days of Hanukkah", described by Goldberg as "a hip hop Hannukah song written by the senior senator from Utah."
Hatch appeared in a scene in the Parks and Recreation episode "Ms. Ludgate-Dwyer Goes to Washington" alongside Cory Booker.
Hatch along with Lowell Alexander and Phil Naish composed the song, "Blades Of Grass And Pure White Stones".
Writing
Orrin Hatch, The Equal Rights Amendment: Myths and Realities, Savant Press (1983)
Orrin Hatch, Higher Laws: Understanding the Doctrines of Christ , Shadow Mountain (June 1995)
Orrin Hatch, Square Peg: Confessions of a Citizen Senator, Basic Books (October 15, 2002)
Hatch's autobiography describes the challenges of balancing home and professional life as a Senator, and recounts anecdotes from his campaign experience and some of his higher-profile assignments in the Senate, such as the Confirmation Hearings of Robert Bork and Clarence Thomas.
Orrin Hatch, Orrin Hatch, the L.D.S. Mormon Politician as Songwriter, text of an interview of Orrin Hatch by Phillip K. Bimstein, in Washington, D.C., August 14, 2003, transcribed by Jonathan Murphy, New York City, American Music Center, 2003, without ISBN.
Hatch also is the author of several law review articles.
Honors
Hatch has been awarded the following:
Commander of the Order of the Star of Romania, Romania (June 8, 2017)
Order of Duke Branimir, Republic of Croatia (October 29, 2018)
Presidential Medal of Freedom (November 16, 2018)
Secretary of the Air Force Distinguished Public Service Award (December 11, 2018)
See also
Hatch-Waxman Act
Internet Community Ports Act
Pirate Act
References
External links
Collected news and commentary at The Salt Lake Tribune
Profile at SourceWatch
Orrin Hatch papers, 1861
Orrin Hatch papers, MSS 6057 at L. Tom Perry Special Collections, Brigham Young University
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1934 births
Candidates in the 2000 United States presidential election
20th-century American politicians
20th-century Mormon missionaries
21st-century American politicians
American Latter Day Saint hymnwriters
American leaders of The Church of Jesus Christ of Latter-day Saints
American Mormon missionaries in the United States
American performers of Christian music
Brigham Young University alumni
Information Technology and Innovation Foundation
Latter Day Saints from Pennsylvania
Latter Day Saints from Utah
Living people
Mitt Romney
Pennsylvania lawyers
Politicians from Pittsburgh
Presidential Medal of Freedom recipients
Presidents pro tempore of the United States Senate
Commanders of the Order of the Star of Romania
Republican Party United States senators
United States senators from Utah
University of Pittsburgh School of Law alumni
Utah lawyers
Utah Republicans
Writers from Utah
Federalist Society members
American composers
Conservatism in the United States
| true |
[
"Paige v. Banks, 80 U.S. (13 Wall.) 608 (1872), was a United States Supreme Court case in which the Court held an agreement that transfers a copyright from the original author to a second party for perpetuity does not end with the statutory limit of copyright at the time the parties made the deal. If a later act of Congress extends copyright and the extension is available to the work, the second party still controls the copyright or perpetual license to that copyright.\n\nThis is a notable departure from the Statute of Anne, a 1709 law from Great Britain that was influential in the United States's copyright history. That statute, from which the United States borrowed for the Copyright Act of 1790, provided for a maximum of two fourteen year terms of the author controlling a work's copyright monopoly before it entered the public domain. Under that British scheme, an author could sign away their copyright during the first term and it would automatically return to them at the beginning of the second term.\n\nNotes\n\nReferences\n\nExternal links\n \n\n1872 in United States case law\nUnited States Supreme Court cases\nUnited States Supreme Court cases of the Chase Court\nUnited States copyright case law",
"Directive 2011/77/EU on the term of protection of copyright and certain related rights amended Directive 2006/116/EC and extended copyright terms of recordings from 50 to 70 years. It was passed by the Council of the European Union on 12 September 2011 after the European Parliament passed it on 23 April 2009 establishing a term of 70 years, lower than the 95 years the European Union Commission had proposed on 16 July 2008.\n\nPurpose of the extension \nThe stated purpose of the extension of the recording copyright term is to \"bring performers' protection more in line with that already given to authors - 70 years after their death.\" The term in Directive 2006/116/EC is 50 years after publishing the performance, or 50 years after the performance if it is not published.\n\nArgument for and against\n\nThe Impact of Copyright Extension for Sound Recordings in the UK (cited by the European Commission) suggested that the extension to 95 years would increase revenue by £2.2 million to £34.9\nmillion in present value terms over the next ten years. It also suggested that there would \"prices of in-copyright and out-of-copyright sound recordings are not significantly different\" so that consumers would not be impacted.\n\nThe Gowers review of Intellectual Property stated that \"is not clear that extension of term would benefit musicians and performers very much in practice.\" An article written by Dutch academics and published in the European Intellectual Property Review, Never Forever: Why Extending the Term of Protection for Sound Recording is a Bad Idea, concluded that the arguments for copyright extension were not convincing.\n\nSee also \n Copyright Term Extension Act (United States)\n\nReferences\n\nExternal links \n EC Term of Protection Page\n Directive 2011/77/EU of the European Parliament and of the Council of 27 September 2011 amending Directive 2006/116/EC on the term of protection of copyright and certain related rights\n Procedure : 2008/0157(COD)\n Music copyright to be extended to 70 years for performers\n\nDirective in the news:\n British Recorded Music Industry statement\n BBC News articles on proposed extension.\n Slashdot Article\n Arstechnica Article\n Out-law.com: Special Reports Sign in to my account Topics Intellectual Property European Commission proposes copyright extension Directive\n http://kluwercopyrightblog.com/2011/04/06/o-no-not-again-term-extension/\n\nCopyright law of the European Union\n2008 in the European Union\n2009 in the European Union"
] |
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"Orrin Hatch",
"Intellectual property",
"Has HAtch introduced legislation about intellectual property?",
"Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in",
"What does the Copyright Term Extension Act do?",
"intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators."
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C_5e15fa53c20c407a90a91f3dbb34f823_1
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In what way does this act protect copyright holders?
| 3 |
In what way does the Copyright Term Extension Act protect copyright holders?
|
Orrin Hatch
|
Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in 1997. Hatch believes intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators. Hatch caused an overnight controversy on June 17, 2003 by proposing that copyright owners should be able to destroy the computer equipment and information of those suspected of copyright infringement, including file sharing, he stated that "This may be the only way you can teach somebody about copyrights." In the face of criticism, especially from technology and privacy advocates, Hatch withdrew his suggestion days later, after it was discovered that Sen. Hatch's official website was using an unlicensed JavaScript menu from United Kingdom-based software developer Milonic Solutions. Milonic founder Andy Woolley stated that "We've had no contact with them. They are in breach of our licensing terms." Shortly after the publication of that story in Wired magazine, the company that runs Hatch's website contacted Milonic to start registration. One year later, he proposed the controversial INDUCE Act that attempted to make illegal all tools that could be used for copyright infringement if said tools were intentionally used for illegal copyright infringement. On September 20, 2010, Hatch once again attempted to outlaw websites which could be used for trademark and copyright infringement through the Combating Online Infringement and Counterfeits Act (COICA). This bill would authorize the United States Department of Justice to blacklist and censor all websites that the department deemed to be dedicated to "infringing activities". CANNOTANSWER
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owners should be able to destroy the computer equipment and information of those suspected of copyright infringement,
|
Orrin Grant Hatch (born March 22, 1934) is an American attorney, retired politician, and composer who served as a United States Senator from Utah for 42 years (1977–2019). He is the longest-serving Republican U.S. Senator in history and the longest-serving U.S. Senator from Utah.
Hatch chaired the Senate Committee on Health, Education, Labor, and Pensions from 1981 to 1987. He also served as chair of the Senate Judiciary Committee from 1995 to 2001 and 2003 to 2005. On January 3, 2015, after the 114th United States Congress was sworn in, Hatch became President pro tempore of the Senate. He served as chairman of the Senate Finance Committee from 2015 to 2019. Hatch led the efforts to pass the Tax Cuts and Jobs Act of 2017. He retired in January 2019 and was succeeded by the 2012 Republican presidential nominee, Mitt Romney.
Early life and education
Orrin Grant Hatch was born and raised in Pittsburgh, Pennsylvania. He is the son of Jesse Hatch (1904–1992), a metal lather, and his wife Helen Frances Hatch (née Kamm; 1906–1995). Hatch had eight brothers and sisters, two of whom did not survive infancy. Hatch was profoundly affected by the loss of his older brother Jesse, a U.S. Army Air Forces nose turret gunner with the 725th Bombardment Squadron who was killed on February 7, 1945, when the B-24 he was aboard was shot down over Austria.
Hatch, who grew up in poverty, was the first in his family to attend college; he attended Brigham Young University and received a B.A. degree in history in 1959. He also fought 11 bouts as an amateur boxer. In 1962, Hatch received a J.D. degree from the University of Pittsburgh School of Law. Hatch has stated that during law school, he and his young family resided in a refurbished chicken coop behind his parents' house. Hatch worked as an attorney in Pittsburgh and moved to Utah in 1969, where he continued to practice law.
Elections
In 1976, in his first run for public office, Hatch was elected to the United States Senate, defeating Democrat Frank Moss, a three-term incumbent. Hatch criticized Moss's 18-year tenure in the Senate, saying, "What do you call a Senator who's served in office for 18 years? You call him home." Hatch ran on the promise of term limits and argued that many Senators, including Moss, had lost touch with their constituents.
In 1982, Hatch won re-election, defeating Mayor of Salt Lake City Ted Wilson by 17 points. He defeated Brian Moss (Frank Moss' son) by 35 points in 1988 and was re-elected in 1994, 2000, 2006, and 2012.
In 2000, Hatch sought the Republican presidential nomination. After finishing last in the Iowa caucuses, Hatch withdrew his candidacy on January 27, 2000, and endorsed eventual winner George W. Bush.
2012 Senate election
After the defeat of Utah's Senator Bob Bennett in 2010, conjecture began as to whether six-term Senator Hatch would retire in 2012. It was also speculated that Congressman Jason Chaffetz would run against Hatch, though Chaffetz would later decline. In January 2011, Hatch announced his campaign for re-election. Later, nine other Republicans, including former State Senator Dan Liljenquist and then-State Legislator Chris Herrod, declared campaigns for U.S. Senator.
Having elected state delegates in mid-March, both the Democratic and Republican parties held conventions on April 21, with the possibilities to determine their nominees for the November general election. At the Republican convention, Hatch failed to get the 60% vote needed to clinch the Republican nomination, so he faced Liljenquist (the second-place winner) in the primary June 26. Hatch won the primary easily. It was Hatch's first primary competition since his election in 1976. The Democratic convention chose former state Senator and IBM executive Scott Howell as the Democratic Party candidate. Hatch defeated Howell, receiving 65.2% of the vote to Howell's 30.2%.
2016 presidential endorsements
In the 2016 presidential election, Hatch originally supported former Florida Governor Jeb Bush and later endorsed Florida Senator Marco Rubio once Bush ended his campaign. On May 12, 2016, after Donald Trump became the presumptive Republican presidential nominee, Hatch endorsed him. On May 27, 2016, after Trump suggested that a federal judge Gonzalo P. Curiel was biased against Trump because of his Mexican heritage, Hatch said: "From what I know about Trump, he's not a racist but he does make a lot of outrageous statements...I think you can criticize a judge but it ought to be done in a formal way" and said that Trump's statements were not so inappropriate that he would rescind his support. On October 7, 2016, following the Donald Trump Access Hollywood controversy, Hatch described Trump's comments as "offensive and disgusting" and said that "[there] is no excuse for such degrading behavior. All women deserve to be treated with respect." Hatch maintained his endorsement of Trump's candidacy.
U.S. Senate tenure
Hatch took office as a U.S. senator on January 3, 1977. He chaired the Senate Committee on Health, Education, Labor, and Pensions from 1981 to 1987. He also served as chair of the Senate Judiciary Committee and the Senate Finance Committee.
In September 1989, Hatch was one of nine Republican senators appointed by Senate Republican Leader Robert Dole to negotiate a dispute with Democrats over the financing of President Bush's anti-drug plan that called for spending $7.8 billion by the following year as part of the president's efforts to address narcotics nationwide and abroad.
Hatch expressed interest in serving on the United States Supreme Court. It was reported that he was on Ronald Reagan's short list of candidates to succeed Lewis F. Powell Jr. on the Supreme Court, but was passed over at least in part because of the Ineligibility Clause. Despite that, he vocally supported Robert Bork, who was chosen instead.
Hatch "worked across the aisle to pass landmark legislation, including the Americans with Disabilities Act and the Children's Health Insurance Program". During the 1991 confirmation hearings regarding the Supreme Court nomination of Clarence Thomas, Hatch "famously defended Thomas...by reading aloud from 'The Exorcist' to suggest Anita Hill lifted details of her sexual harassment allegations from the horror book".
On January 3, 2015, after the 114th United States Congress was sworn in, Hatch became President pro tempore of the Senate.
Hatch was absent from the 2017 Inauguration Day festivities. At the request of President-elect Donald Trump, he agreed to serve as designated survivor during the inauguration and was kept at a secure, undisclosed location.
On December 25, 2017, the Salt Lake Tribune published an editorial entitled "Why Orrin Hatch is Utahn of the Year." The newspaper described its criteria for the designation as "Utahn of the Year" as "the Utahn who, over the past 12 months, has done the most. Has made the most news. Has had the biggest impact. For good or for ill." The editorial criticized Hatch for his role in the size reduction of the Grand Staircase-Escalante National Monument and the passage of the Tax Cuts and Jobs Act of 2017 and accused him of lacking integrity.
Hatch announced on January 2, 2018, that he would retire from the Senate instead of seeking re-election that November. Hatch retired from the Senate on January 3, 2019, having served there for 42 years. At the time of his retirement announcement, he was the longest-serving U.S. Senator in Utah history (having eclipsed previous record-holder Reed Smoot in 2007), the longest-serving Republican U.S. Senator in the history of Congress, and also one of the longest-serving Republican members of Congress in the history of the United States. Hatch surpassed fellow senators Ted Stevens and Strom Thurmond, who joined the Republican Party in 1964, and was later surpassed by Chuck Grassley and Don Young.
Political positions and votes
Abortion
Hatch was strongly opposed to abortion and was the author of the Hatch Amendment to the Constitution, which stated that there is no constitutional right to abortion and empowered the states to restrict abortion as they saw fit.
Anti-terrorism
In 1995, Hatch was the leading figure behind the senate's anti-terrorism bill, to a large extent a response to the Oklahoma City Bombing. Elements of the bill were criticised by the Anti-Defamation League and American Jewish Committee on civil liberties grounds, especially the new limits imposed on habeas corpus in capital cases.
As a senior member of the Senate Select Intelligence Committee, Hatch was also instrumental in the 2008 extension of the Foreign Intelligence Surveillance Act. He said, "This bipartisan bill will help defeat terrorism and keep America safe. No, the legislation is not perfect, but it ensures that the increased expansion of the judiciary into foreign intelligence gathering doesn't unnecessarily hamper our intelligence community."
Bailouts
Hatch voted in favor of the 2008 legislation that established the Troubled Asset Relief Program (TARP). In 2011, Hatch said that he "probably made a mistake voting for it", and also claimed "at the time, we were in real trouble and it looked like we were ready for a depression. I believe we would have gone into a depression."
He voted against the renewal of TARP in 2009, and the renewal was voted down by 10 votes in the Senate.
Hatch voted in favor of the Housing and Economic Recovery Act of 2008. The bill authorized $300 billion to guarantee mortgages and restore confidence in Fannie Mae and Freddie Mac.
Balanced budget amendment
Hatch has been a longtime advocate of amending the United States Constitution to require that total spending of the federal government for any fiscal year not exceed total receipts.
During his time in the Senate, Hatch has sponsored a balanced budget amendment 17 times—4 times as lead sponsor and 13 times as a co-sponsor. He also voted in favor of passing a Balanced Budget Amendment on at least 9 occasions. Hatch's proposed amendment passed the House of Representatives in 1997, but failed to pass the Senate by the required two-thirds majority by one vote to move on the states for ratification.
Bank of Credit and Commerce International
In January 1990, the federal judge in a case against the Bank of Credit and Commerce International (BCCI) accepted a 1989 plea bargain offered to the bank by the U.S. Department of Justice. The bank was to pay $15 million in fines and only admit that it had laundered drug money. Afterward, Hatch presented an impassioned defense of the bank in a speech on the Senate floor. It had been largely written for him by the bank's attorney Robert Altman. Hatch said, "The case arose from the conduct of a small number of B.C.C.I.'s more than 14,000 employees." Since 1989, Hatch and his aide, Michael Pillsbury, had been involved in efforts to counter the negative publicity that surrounded the bank. Hatch had also solicited the bank to approve a $10 million loan to a close friend, Monzer Hourani. In 1991, B.C.C.I. was shut down after regulators accused it of one of the biggest international financial frauds in history. Law enforcement officials accused the bank of making bribes throughout the third world to arrange government deposits. Clark Clifford, a former presidential advisor and Defense Secretary, and Altman, his law partner, were charged with taking bribes from B.C.C.I., in exchange for concealing its illegal ownership of First American Bankshares, a Washington holding company which Clifford chaired. Both had denied the charges, which were filed in New York State and Federal courts. In 1992, in a "Report to the Committee on Foreign Relations of the United States Senate," prepared by committee members, U.S. Senators John Kerry (D-MA) and Hank Brown (R-CO), noted that a key strategy of "BCCI's successful secret acquisitions of U.S. banks in the face of regulatory suspicion was its aggressive use of a series of prominent Americans," Clifford amongst them. The relationship with Hourani included the receipt of campaign contributions laundered through his employees, for which Hourani was fined $10,000, as well as his purchase of 1,200 CDs of Hatch's songs, for which Hatch received $3 to $7 each, and the management of a blind trust for Hatch. These led to a Senate Ethics Committee investigation, by which Hatch was eventually cleared.
Energy
As chairman of the Senate Finance Committee, Hatch has investigated the use of what are known as Section 1603 grants and tax credits. The Section 1603 program was created in President Barack Obama's 2009 stimulus package with the intention of subsidizing green energy production. Since 2009, the federal government has given out $25 billion in cash grants on behalf of the program. Hatch has investigated the program on several occasions. On June 9, 2016, his office requested from Department of Treasury, the Internal Revenue Service (IRS) and the Treasury Inspector General for Tax Administration (TIGTA) details about how companies use the program. In March 2016, Hatch asked the IRS and Treasury Department to demonstrate that the agencies use safeguards and coordinate with each other when reviewing applications for Section 1603 grants. Per his June letter to Treasury Secretary Jack Lew, the agencies have cooperated with Hatch's investigation.
Health care reform
Hatch opposed President Barack Obama's health reform legislation; he voted against the Affordable Care Act in December 2009, and he voted against the Health Care and Education Reconciliation Act of 2010.
Hatch has argued that the insurance mandate found in the legislation is not in the category that can be covered by the interstate commerce clause since it regulates the decision to engage in commercial activity rather than regulating the activity itself. He therefore regards the Act as unconstitutional. NPR called Hatch a "flip-flopper" on this issue since in 1993 Hatch co-sponsored a bill along with 19 other Senate Republicans that included an individual insurance mandate as a means to combat healthcare legislation proposed by Hillary Clinton. In 2018, Hatch said that Obamacare supporters were "the stupidest, dumbass people I've ever met".
Hatch was one of the first Senators to suggest that the individual mandate was unconstitutional and promised to work on dismantling it when he becomes the Finance Committee Chairman. Hatch was part of the group of 13 Senators drafting the Senate version of the AHCA behind closed doors.
In 2003, Hatch supported the Medicare prescription drug benefit plan known as Medicare Part D. Responding to criticism of the legislation during the 2009 debate on health care reform, Hatch said that in 2003 "it was standard practice not to pay for things" and that although there was concern at the time about increasing the deficit, supporting the bill was justified because it "has done a lot of good".
On March 25, 2014, Hatch cosponsored the Emergency Medical Services for Children Reauthorization Act of 2014 in the Senate. The bill that would amend the Public Health Service Act to reauthorize the Emergency Medical Services for Children Program through FY2019. The bill would authorize appropriations of about $20 million in 2015 and $101 million over the 2015–2019 period. Hatch argued that "children require specialized medical care, and that specialized care comes with unique challenges. The EMSC program helps ensure that some of our country's most vulnerable have access to the care they need, and I've been proud to support it all these years."
Immigration
Hatch was one of the architects and advocates of the expansion of H-1B visas and has generally been an advocate of tougher enforcement immigration policy including voting for 1,500 new law enforcement agents to patrol the border. His 2010 Immigration Bill titled Strengthening Our Commitment to Legal Immigration and America's Security Act has received the support of the Center for Immigration Studies (CIS). He also proposed the DREAM Act, which would provide a pathway to citizenship for the children of undocumented immigrants, who were children when their parents came to the United States.
Hatch critiqued President Donald Trump's 2017 executive order to temporarily suspend immigration from seven Muslim countries until better screening methods are devised. He reflected on his own family's immigration history and described the order as placing "unnecessary burdens" on families.
Judicial nominations
As ranking minority member of the Senate Judiciary Committee, Hatch fought hard to get conservative judges nominated to the Supreme Court. He took a leading role in the Senate confirmation hearings of Clarence Thomas in October 1991. He was also a strong supporter of Jay Bybee during Bybee's confirmation hearings for a seat on the United States Court of Appeals for the Ninth Circuit, stating "I've seen a lot of people around and a lot of judges and I don't know of anybody who has any greater qualifications or any greater ability in the law than you have."
Nevertheless, in 1993, Hatch recommended Ruth Bader Ginsburg, whom he knew personally, to President Bill Clinton to fill a vacancy on the U.S. Supreme Court, even as he knew she was a political liberal. Clinton had not previously considered Ginsburg, and Hatch, as ranking member of the Senate Judiciary Committee, assured him that a Ginsburg confirmation would go smoothly.
With regards to the Senate filibuster being used to stall President Barack Obama's judicial appointments, Hatch voted against the November 2013 reforms, which eliminated the use of the filibuster on executive branch nominees and judicial nominees other than to the Supreme Court. In September 2014, Hatch argued that the filibuster should be restored, saying: "We should get it back to where it was. You can see the destruction that has happened around here." However, in November 2014, after the Republicans retook control of the Senate following the 2014 elections, Hatch wrote in The Wall Street Journal that "if Republicans re-establish the judicial-nomination filibuster, it would remain in place only until the moment that a new Democratic majority decided that discarding the rule again would be useful" and called for "the next Republican president to counteract President Obama's aggressive efforts to stack the federal courts in favor of his party's ideological agenda" by nominating conservative judges.
As an opponent of the confirmation of Merrick Garland, Hatch submitted to the Deseret News an opinion piece stating that, after meeting with Garland, his opinion on blocking Garland had not changed; the piece was published prior to Hatch's meeting with Garland. On March 13, 2016, regarding the nomination of Supreme court candidates by Obama, Hatch stated "a number of factors have led me to conclude that under current circumstances the Senate should defer the confirmation process until the next president is sworn in".
Intellectual property
Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in 1997. Hatch believes intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators.
Hatch caused an overnight controversy on June 17, 2003, by proposing that copyright owners should be able to destroy the computer equipment and information of those suspected of copyright infringement, including file sharing, he stated that "This may be the only way you can teach somebody about copyrights." In the face of criticism, especially from technology and privacy advocates, Hatch withdrew his suggestion days later, after it was discovered that Sen. Hatch's official website was using an unlicensed JavaScript menu from United Kingdom-based software developer Milonic Solutions. Milonic founder Andy Woolley stated that "We've had no contact with them. They are in breach of our licensing terms." Shortly after the publication of that story in Wired magazine, the company that runs Hatch's website contacted Milonic to start registration.
On September 20, 2010, Hatch once again attempted to outlaw websites which could be used for trademark and copyright infringement through the Combating Online Infringement and Counterfeits Act (COICA). This bill would authorize the United States Department of Justice to blacklist and censor all websites that the department deemed to be dedicated to "infringing activities".
LGBT rights
The Salt Lake Tribune reported that in 1977, Hatch told students from the University of Utah, "I wouldn't want to see homosexuals teaching school anymore than I'd want to see members of the American Nazi Party teaching school." Hatch supported the Defense of Marriage Act in 1996.
In 2012, Hatch recommended and supported District Court Judge Robert Shelby, a Barack Obama appointee, though Utah Senator Mike Lee, voted against him in the Judiciary Committee. In 2013 Shelby overturned Utah's ballot Amendment 3, which constitutionally defined marriage as between a man and a woman.
In April 2013, Hatch stated that he viewed same-sex marriage as "undermining the very basis of marital law", but declined to support a Federal Marriage Amendment and endorsed same-sex couples' right to form a civil union, stating that the law should "give gay people the same rights as married people". Later that same year, Hatch voted in favor of the Employment Non-Discrimination Act, legislation creating protected classes for those identifying as gay, lesbian, bisexual or transgender. In 2018, Hatch "honored Pride" by giving a speech in support of programs to help and serve LGBT youth.
Nuclear testing
During Hatch's first year in the Senate in 1977, reporter Gordon Eliot White of the Deseret News published the first of what would be a lengthy series of articles detailing government malfeasance in atmospheric testing of nuclear bombs at the Nevada Test Site. Over the next 13 years White's articles detailed how the government determined to proceed with the tests, and with mining and refining, without adequate safeguards for innocent citizens whose health would be damaged. Though Hatch feared an investigation would endanger the nation's nuclear deterrence versus the Soviet Union and the People's Republic of China, by 1979 he was pushing for hearings on the issue before the Senate Labor Committee. Hatch prevailed on Committee Chairman Ted Kennedy to hold field hearings in Utah in 1980. At the end of 1980, Hatch was positioned to chair the committee himself.
By 1984, Hatch had held a dozen hearings, passed legislation requiring scientific investigation of the injuries and had enlisted the aid of the National Science Foundation and National Cancer Institute, but still could not muster the votes to get a bill. When a vote was obtained in the Senate in 1985 (as an amendment to a bill to compensate Pacific Islanders for nuclear tests in the 1950s), it failed by a handful of votes. Hatch discovered a clause in the proposed Treaty of Peace and Friendship with Kiribati and Tuvalu to pay at least $100 million to residents of the Marshall Islands for injuries similar to those of Utahns, and Hatch took the treaty hostage. His hold on consideration of the treaty eventually got agreement from the Reagan administration to agree not to oppose radiation compensation for Utah citizens, but it still took another five years to get the bill through. The Radiation Exposure Compensation Act of 1990 provided compensation for citizens injured by radioactive fallout from the tests.
In December 2010, Hatch was one of twenty-six senators who voted against the ratification of New Start, a nuclear arms reduction treaty between the United States and Russian Federation obliging both countries to have no more than 1,550 strategic warheads as well as 700 launchers deployed during the next seven years along with providing a continuation of on-site inspections that halted when START I expired the previous year. It was the first arms treaty with Russia in eight years.
Opioid crisis
Hatch introduced the Ensuring Patient Access and Effective Drug Enforcement Act, narrowing the broad authority of the DEA to suspend drug "manufacturers, distributors, and dispensers". Hatch stated the bill was also written to protect patients from disruptions in the production and delivery of their prescription drugs: "The fact that prescription drugs can be abused should not prevent patients from receiving the medications they need. This bill takes a balanced approach to the problem of prescription drug abuse by clarifying penalties for manufacturing or dispensing outside approved procedures while helping to ensure that supply chains to legitimate users remain intact". The bill passed the Senate unanimously and Tom Marino passed a version of the bill in the House and was signed by President Barack Obama.
Critics of the bill claim the new law fuels the opioid crisis by limiting the DEA's ability to halt production and distribution by predatory drug companies. DEA Chief Administrative Law Judge John J. Mulrooney II wrote in the Marquette Law Review: "At a time when, by all accounts, opioid abuse, addiction and deaths were increasing markedly, this new law imposed a dramatic diminution of the agency's authority. It is now all but logically impossible for the DEA to suspend a drug company's operations for failing to comply with federal law." Donald Trump's Attorney General Jeff Sessions said he was "dubious" about the law when it passed and joined 44 state attorneys general calling for "repeal or amendment of the law to restore some of the DEA's authority." Jim Geldhof, a former DEA program manager whom spent 43 years with the DEA called the bill "outrageous. It basically takes any kind of action DEA was going to do with a distributor or manufacturer as far as an immediate suspension off the table. And then the other part of that really infuriates me is that corrective action plan." Mulrooney compared the corrective action plan to one that would "allow bank robbers to round up and return inkstained money and agree not to rob any more banks — all before any of those wrongdoers actually admit fault and without any consequence that might deter such behavior in the future."
Hatch responded to a Washington Post and 60 Minutes investigation into the bill by writing a Washington Post opinion article calling the investigation "misleading" and asking to "leave conspiracy theories to Netflix". Senator Sheldon Whitehouse, a co-sponsor of the senate bill, also defended the bill: "This bill was drafted in consultation with the DEA to offer better guidance for companies working to safely and responsibly supply prescription drugs to pharmacies, and to promote better communication and certainty between companies and regulators." Republican Pat Toomey expressed doubts that a conspiracy existed, but still suggested amending the bill: "I'm a little surprised that it passed unanimously in both houses, was signed by President Obama and got no opposition from the DEA at the time. That's not the way controversial legislation usually ends up, but hey, if there's problems, then we ought to revisit them."
Hatch received $177,000 in donations from the drug industry while pushing the bill through and has received $2,178,863 from the Pharmaceuticals/Health Products industry from 1989 to 2014 according to required filings by the Federal Election Commission.
Privacy
In 2017, Hatch voted to prevent online and telecommunication privacy protections from taking effect.
Religious freedom
Hatch was the main author of the Religious Land Use and Institutionalized Persons Act, which protected all religions' right to build church facilities on private property. In 2010, Hatch defended the right of a private organization to build a mosque on private property in downtown Manhattan, citing this law and defense of the freedom of religion.
Presidential Medal of Freedom
On November 16, 2018, President Donald Trump awarded Hatch with the highest civilian honor, the Presidential Medal of Freedom.
Other issues
In 1980, Hatch spoke in favor of rolling back provisions of the Fair Housing Act enforced by the Office of Fair Housing and Equal Opportunity. Acting on his motion in 1988, Congress eventually voted to weaken the ability of plaintiffs to prosecute cases of discriminatory treatment in housing. At the time the 1988 Fair Housing Amendments were being debated, he introduced a bill endorsed by the National Association of Realtors to severely limit who can file anti-discrimination suits and to make the proceedings a private affair.
In 1999, Hatch called for a federal probe into manufacturers of violent video games, and proposed making the existing voluntary rating system for video games (ESRB) mandatory by federal law.
Hatch pushed legislation for the Equal Opportunity to Govern Amendment, which would amend Article 2, Section I, Clause 5 of the United States Constitution. This amendment would allow anyone who has been a U.S. citizen for twenty years to seek the presidency or vice-presidency.
A vocal supporter of stem cell research, Hatch was one of 58 senators who signed a letter directed to President George W. Bush, requesting the relaxing of federal restrictions on embryonic stem cell research. In 2010, Hatch's bill was reauthorized which allowed stem cells from umbilical cords to be used to find treatment options.
In 2011, Hatch was criticized for comments he made suggesting that the rich have an unfair financial burden in the current tax system.
In June 2013, Hatch commented on a G8 proposal that tax authorities in the world's largest economies openly share information among themselves in order to fight tax evasion. The proposal has strong suggestions about ways to make companies more transparent and governments more accountable for their tax policies. Hatch stated that transparency is always a good thing, but he would like to see a bill before giving any support.
In 2017, Hatch was one of 22 senators to sign a letter to President Donald Trump urging the President to have the United States withdraw from the Paris Agreement. According to the Center for Responsive Politics, Hatch has received over $470,000 from oil, gas and coal interests since 2012.
In 2018, over the Judge Kavanaugh Supreme Court controversy, Hatch said that it did not matter even if Kavanaugh did what his accusers alleged was true. Hatch said, "If that was true, I think it would be hard for senators to not consider who the judge is today. That's the issue. Is this judge a really good man? And he is. And by any measure he is.”
Hatch voted for the impeachment of President Bill Clinton in 1999, saying "committing crimes of moral turpitude such as perjury and obstruction of justice go to the heart of qualification for public office... This great nation can tolerate a president who makes mistakes. But it cannot tolerate one who makes a mistake and then breaks the law to cover it up. Any other citizen would be prosecuted for these crimes." In 2018, in the wake of court filings that implicated President Trump in campaign finance violations and in attempting to buy the silence of women who alleged affairs with Trump, Hatch said, "I don't care, all I can say is he's doing a good job as president."
In April 2018, Hatch was one of eight Republican senators to sign a letter to United States Secretary of the Treasury Steve Mnuchin and acting Secretary of State John Sullivan expressing "deep concern" over a report by the United Nations exposing "North Korean sanctions evasion involving Russia and China" and asserting that the findings "demonstrate an elaborate and alarming military-venture between rogue, tyrannical states to avoid United States and international sanctions and inflict terror and death upon thousands of innocent people" while calling it "imperative that the United States provides a swift and appropriate response to the continued use of chemical weapons used by President Assad and his forces, and works to address the shortcomings in sanctions enforcement."
Committee assignments
Committee on Finance (Chairman)
As Chairman of the full committee, Hatch may serve as an ex officio member of all subcommittees of which he is not already a full member.
Subcommittee on International Trade, Customs, and Global Competitiveness
Subcommittee on Social Security, Pensions and Family Policy
Committee on the Judiciary
Subcommittee on Antitrust, Competition Policy and Consumer Rights
Subcommittee on Crime and Drugs
Subcommittee on Terrorism, Technology and Homeland Security
Committee on Health, Education, Labor, and Pensions
Subcommittee on Children and Families
Subcommittee on Employment and Workplace Safety
Special Committee on Aging
Joint Committee on Taxation
Impeachment Trial Committee on the Articles against Judge G. Thomas Porteous, Jr. (Vice Chair)
Caucus memberships
Afterschool Caucuses
Judd Gregg's 2011 retirement created a domino effect among high-profile Senate Republicans: Jeff Sessions took his spot as Ranking Republican on the Senate Budget Committee; Chuck Grassley in turn took his spot on the Senate Judiciary Committee, and Hatch took the top Republican spot on the Senate Finance Committee.
Lobbying ties
Hatch's son Scott Hatch was formerly a partner and registered lobbyist at Walker, Martin & Hatch LLC, a Washington lobbying firm. The firm was formed in 2001 with Jack Martin, a staff aide to Hatch for six years, and H. Laird Walker, described as a close associate of the senator. In March 2003, the Los Angeles Times reported that the firm was formed with Hatch's personal encouragement and that he saw no conflict of interest in working on issues that involved his son's clients. In 2009, the Washington Times reported that Hatch said "My son, Scott, does not lobby me or anyone in my office".
In March 2009, the Washington Times reported that the pharmaceutical industry, which has benefited from Hatch's legislative efforts, had previously unreported connections to Hatch. In 2007, five pharmaceutical companies and the industry's main trade association, Pharmaceutical Research and Manufacturers of America (PhRMA), donated $172,500 to the Utah Families Foundation—a charitable foundation which Hatch helped start in the 1990s and has continued to support since. Walker, Martin & Hatch LLC was paid $120,000 by PhRMA in 2007 to lobby Congress on pending U.S. Food and Drug Administration legislation.
Electoral history
Personal life
Hatch married Elaine Hansen on August 28, 1957. They have six children.
Hatch is a member of The Church of Jesus Christ of Latter-day Saints (LDS Church). Although he was born in Pennsylvania, his parents had been raised in Utah and he had ancestors who were members of the LDS Church in Nauvoo, Illinois. Hatch served as an LDS missionary in what was called the "Great Lakes States Mission" essentially covering large parts of Indiana, Michigan and Ohio. Hatch has since served in various positions in the LDS Church, including as a bishop.
Hatch is a founder and co-chair of the Federalist Society, an organization of conservative lawyers.
Hatch serves as a member of the board of directors of the United States Holocaust Memorial Museum. In a 1996 interview on 60 Minutes, Hatch claimed to wear a mezuzah necklace in order to remind himself that another holocaust should never be allowed to occur.
Despite their political differences, Hatch was a longtime friend of fellow senator Ted Kennedy, speaking at his memorial service and publicly suggesting Kennedy's widow as a replacement for Kennedy in the Senate.
Musical career and film appearances
Hatch plays the piano, violin and organ. Fueled by his interest in poetry, Hatch has written songs for many. He co-authored "Everything And More," sung by Billy Gilman. In addition to his job as a United States Senator, Hatch has earned over $10,000 as an LDS music recording artist.
Hatch wrote the lyrics for and participated in the recording of "Eight Days of Hanukkah" in 2009. The song's music was composed by Madeline Stone.
Hatch also has a history in arts management. In the early 1970s he was the band manager for a Mormon-themed folk group called the Free Agency. The Free Agency was made up of members of an earlier Mormon group called the Sons of Mosiah, that was formed when guitarist David Zandonatti and vocalist Ron McNeeley relocated to Utah after their San Francisco based psychedelic group Tripsichord Music Box disbanded in 1971. The group also included Lynn Bryson and Alan Cherry.
Rock musician Frank Zappa composed a guitar instrumental entitled "Orrin Hatch On Skis," which appears on his 1988 album, Guitar.
In March 1997, Orrin Hatch and Janice Kapp Perry jointly recorded an album of music with Tree Music entitled "My God Is Love". Later albums with Perry included "Come to the Manger".
Hatch and Janice Kapp Perry co-wrote the song "Heal Our Land", which was performed at George W. Bush's January 2005 inauguration.
Hatch appeared as himself, alongside Chuck Grassley, in Steven Soderbergh's Oscar-winning drama Traffic, in a brief cameo in a scene set during a Washington D.C. cocktail party. Soderbergh later featured one of Hatch's songs, Souls Along The Way, in his film Ocean's 12 as background music for a scene in Hatch's home state Utah.
Hatch's likeness was featured in the 30 Rock episode "Jack Gets in the Game" as one of Dr. Leo Spaceman's famous clients.
In 2009, at the request of The Atlantic correspondent Jeffrey Goldberg, Hatch authored the lyrics to "Eight Days of Hanukkah", described by Goldberg as "a hip hop Hannukah song written by the senior senator from Utah."
Hatch appeared in a scene in the Parks and Recreation episode "Ms. Ludgate-Dwyer Goes to Washington" alongside Cory Booker.
Hatch along with Lowell Alexander and Phil Naish composed the song, "Blades Of Grass And Pure White Stones".
Writing
Orrin Hatch, The Equal Rights Amendment: Myths and Realities, Savant Press (1983)
Orrin Hatch, Higher Laws: Understanding the Doctrines of Christ , Shadow Mountain (June 1995)
Orrin Hatch, Square Peg: Confessions of a Citizen Senator, Basic Books (October 15, 2002)
Hatch's autobiography describes the challenges of balancing home and professional life as a Senator, and recounts anecdotes from his campaign experience and some of his higher-profile assignments in the Senate, such as the Confirmation Hearings of Robert Bork and Clarence Thomas.
Orrin Hatch, Orrin Hatch, the L.D.S. Mormon Politician as Songwriter, text of an interview of Orrin Hatch by Phillip K. Bimstein, in Washington, D.C., August 14, 2003, transcribed by Jonathan Murphy, New York City, American Music Center, 2003, without ISBN.
Hatch also is the author of several law review articles.
Honors
Hatch has been awarded the following:
Commander of the Order of the Star of Romania, Romania (June 8, 2017)
Order of Duke Branimir, Republic of Croatia (October 29, 2018)
Presidential Medal of Freedom (November 16, 2018)
Secretary of the Air Force Distinguished Public Service Award (December 11, 2018)
See also
Hatch-Waxman Act
Internet Community Ports Act
Pirate Act
References
External links
Collected news and commentary at The Salt Lake Tribune
Profile at SourceWatch
Orrin Hatch papers, 1861
Orrin Hatch papers, MSS 6057 at L. Tom Perry Special Collections, Brigham Young University
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1934 births
Candidates in the 2000 United States presidential election
20th-century American politicians
20th-century Mormon missionaries
21st-century American politicians
American Latter Day Saint hymnwriters
American leaders of The Church of Jesus Christ of Latter-day Saints
American Mormon missionaries in the United States
American performers of Christian music
Brigham Young University alumni
Information Technology and Innovation Foundation
Latter Day Saints from Pennsylvania
Latter Day Saints from Utah
Living people
Mitt Romney
Pennsylvania lawyers
Politicians from Pittsburgh
Presidential Medal of Freedom recipients
Presidents pro tempore of the United States Senate
Commanders of the Order of the Star of Romania
Republican Party United States senators
United States senators from Utah
University of Pittsburgh School of Law alumni
Utah lawyers
Utah Republicans
Writers from Utah
Federalist Society members
American composers
Conservatism in the United States
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[
"Paracopyright (\"pseudocopyright\" or \"metacopyright\") is legal protection above and beyond traditional copyright. The most often cited example is \"legal protection for technical measures\" from the 1996 WIPO Internet treaties. Paracopyright provisions in these treaties are not about the term or scope of copyright, but instead are about providing legal protections for the technologies that may be used by copyright holders. \n\nParacopyrights afford legal protection to technologies that claim to be used to protect copyrights, but that are ineffective in that goal. A technical measure can not stop a technically sophisticated person who wishes to infringe copyright. To use the \"digital locks\" analogy, there is no need to \"pick the lock\" as the keys necessary to decode the content are embedded within authorized access technology. Both the locked content and the technology containing the key are commercially available to an infringer. Once a single person decodes a technical measure, the decoded content can be made available to others in the same way as if the technical measure never existed.\n\nThe effect of these technical measures are to impose specific contractual license agreements on those conforming to copyright law. As a concept, therefore, paracopyrights are perhaps better understood as a part of contract law and not copyright law. Unfortunately, important regulations regarding consumer protection and the \"freedom to contract\" are not imported directly into paracopyright laws, potentially creating imbalances in the law and harmful unintended consequences.\n\nCopyright is traditionally understood as a statutorily defined bundle of exclusive rights provided to copyright holders. An infringement of copyright takes place when someone exercises one or more of the copyright holder’s exclusive rights without his or her permission. Anti-circumvention and anti-device provisions do not fit under this paradigm of a bundle of exclusive rights. On one hand, a copyright owner has the exclusive right to copy his or her work, and that exclusive right is infringed when someone else copies the work without permission. It is quite another story, however, to think about copyright holders having the exclusive right to circumvent TPMs (Technical Protection Measure) that they apply to their works, and the exclusive right to make and distribute devices that enable or facilitate circumvention of TPMs. Even assuming that this problem could be overcome, attempting to force anti-circumvention and anti-device provisions to fit the mold of the bundle of rights paradigm seems to necessitate adding a number of related rights to the bundle, including the exclusive right to apply a TPM to a copyright work.\n\nSee also\nDigital Millennium Copyright Act\nDigital rights management\n\nExternal links \n\nExamples where the term has been used\n\n The Word Spy\n Michael Geist, In the Public Interest: The Future of Canadian Copyright Law, Chapter 4: Constitutional Jurisdiction over Paracopyright Laws - Jeremy F. deBeer \n Peter Jaszi, Intellectual Property Legislative Update: Copyright, Paracopyright, and Pseudo-Copyright, May 1998 \n David Nimmer, “Puzzles of the Digital Millennium Copyright Act” (1998-1999) 46 J. Copyr Soc’y U.S.A. 401 at 405 \n Michael J. Remington, “The Ever-whirling Cycle of Change: Copyright and Cyberspace” (2002) 3:2 N.C. J.L. & Tech. 213 at 238-241 \n Ian Kerr, \"To observe and protect\", How Digital Rights Management Systems Threaten Privacy and What Policy Makers Should Do About It\", forthcoming in Intellectual Property and Information Wealth: Copyright and Related Rights (vol. 1), Edited by Peter Yu, Praeger Publishers, 2007.\n\nIntellectual property law",
"The International Copyright Act of 1891 (, March 3, 1891) is the first U.S. congressional act that extended limited protection to foreign copyright holders from select nations.\nFormally known as the \"International Copyright Act of 1891\", but more commonly referred to as the \"Chace Act\" after Sen. Jonathan Chace of Rhode Island.\n\nThe International Copyright Act of 1891 was created because many people shunned the idea of literary piracy. It was the first U.S. congressional act that offered copyright protection in the United States to citizens of countries other than the United States. The act extended limited protection to foreign copyright holders from select nations. It was also important for American creators since they were more likely to have international copyright protection in countries that were offered the same protection by the United States. The Act empowered the President to extend copyright to works of foreign nationals.\n\nThe act was passed on March 3, 1891, by the 51st Congress. The Act went into effect on July 1, 1891. On July 3, 1891, the first foreign work, a play called Saints and Sinners by British author Henry Arthur Jones, was registered under the act.\n\nBackground\n\nThe protection of foreign works \n\nDuring the time when the United States was just beginning to develop its own literary tradition, the nation refused to protect foreign works. As a result, American works were unprotected abroad and domestic publishers had to compete with each other for cheap editions of foreign works. Prior to the International Copyright Act, the first national copyright law was passed in 1790 and provided a copyright protection for 14 years, but only for authors who were citizens or residents of the United States. In order to get copyright protection in the rest of the world, American authors were required to gain residency in the country in which they desired copyright protection. For example, Mark Twain obtained residency in Canada to protect his publication of The Prince and the Pauper.\n\nTo protect foreign literature in the United States, British authors would have an American citizen serve as a collaborator in the publishing process, and then have the book registered in Washington, D.C. under the collaborator's name. It was not until the 1830s that the pressure to extend American copyright to foreign authors first developed. Both American and British authors and publishers joined forces and pushed for a bilateral treaty between the United States and England. Famous authors such as Charles Dickens came to the United States to show their support for international copyright. Their biggest problem were American printers that already were protected by a high tariff on imported works, and who had no wish to pay royalties to English writers or publishers.\n\nThe United States discussed international copyright with Great Britain over the years. Congress requested correspondence to this effect in 1842. There was a proposed treaty in 1853 under Millard Fillmore, and consideration of its ratification continued into an extension provided during Franklin Pierce's presidency in 1854.\n\nNonetheless, in the United States, only works published in the United States could be restricted with copyright. Authors including Mark Twain, Louisa May Alcott, Edward Eggleston, and Bill Nye wrote letters in the mid-1880s to the Century requesting international copyright. These letters to the journals had a strong effect on this issue, as did the American Copyright League that was formed in 1883. The League was a great supporter of an International Copyright Act and, at the Madison Square Theater in 1885, the League sponsored readings by American authors in aid of the League's cause.\n\nIn 1885, United States Senator Joseph Roswell Hawley introduced a bill aimed at extending copyright to foreign authors for consideration by Congress. A chief difference between the Hawley Bill and the eventual Chace Bill was Hawley's removal of publisher and book-sellers' interests in the copyright process. It was ultimately unsuccessful, though Mark Twain involved himself in the lobbying process and influenced President Grover Cleveland's thinking on the matter. Cleveland asked Congress for legislation to this effect in his State of the Union address that December.\n\n\"National treatment\" \n\nWhile the United States was refusing any protection for foreign literary works, more and more countries in Europe started adapting the principle of \"national treatment\". This principle meant that each nation that signed the treaty was obligated to protect works produced by nationals of all other treaty members on the same terms that it protects its own nationals.\n\nIn 1884, academics, writers and diplomats met in Berne, Switzerland, to begin the work to form a multilateral copyright treaty. This was based on the principle of national treatment together with minimum standards so that a member country would be free to treat the copyrighted work of its own nationals however they chose to, but when it came to the works from other treaty members it would have to obey certain minimum standards. The treaty was signed in 1886 but the United States was not one of its founding members. American representatives had attended the Berne conference only as observers and it would take another 5 years until the United States took its first step to protect foreign works.\n\nEffects of the Act\n\n\"The manufacturing clause\" \n\nEver since the first national copyright law in 1790, the United States had required certain \"statutory formalities\" to acquire copyright protection. These formalities served as a test of an author's intention to claim protection for his or her work. The International Copyright Act of 1891 now applied these formalities to foreign publishers as well, but added an extra requirement called the \"Manufacturing Clause\".\n\nThe Manufacturing Clause required that all copies of foreign literary works should be printed from type set in the United States if they were to have American protection. This was an obvious concession to American printers, since they might otherwise have opposed the Act. When the International Copyright Act of 1891 was finally passed, foreign authors had to have their works in Washington, D.C. \"on or before the day of publication in this or any foreign country.\" This too would create a problem, but by the early 1900s British authors were granted American Copyright since it was published abroad thirty days from its deposit in Washington, D.C. This would then allow American publishers time to release an authorized edition.\n\nProvisions of the Act \n\nThe International Copyright Act of 1891 instituted important changes in copyright matters. One of the most extensive changes was that from the date the Act went into effect, all books were required to be manufactured in the United States in order to obtain American copyright. However, foreign authors had a better chance of protecting their works than before. This Act was the first step that the United States took towards an international copyright that could benefit foreign authors as well as domestic. Throughout time, the United States had been somewhat of a copyright outcast since they had not joined many international treaties or conventions. However, as the United States became a major exporter of copyrighted materials this changed. Even if there's still no such thing as an \"international copyright\" that will automatically protect an author's rights throughout the world, The International Copyright Act of 1891 was the first step to a number of international copyright treaties and conventions that the United States is now a part of (e.g. Berne Convention, Universal Copyright Convention, WIPO).\n\nPresidents grant international copyrights\n\nThe following is a timeline of presidents granting copyright to other countries:\n July 1, 1891: Belgium, France, Switzerland, Great Britain and its colonies by Benjamin Harrison\n April 15, 1892: German Empire by Benjamin Harrison\n October 31, 1892: Italy by Benjamin Harrison\n May 8, 1893: Denmark by Grover Cleveland\n July 20, 1893: Portugal by Grover Cleveland\n July 10, 1895: Spain by Grover Cleveland\n February 27, 1896: Mexico by Grover Cleveland\n May 25, 1896: Chile by Grover Cleveland\n October 19, 1899: Costa Rica by William McKinley\n November 20, 1899: The Netherlands by William McKinley\n November 17, 1903: Cuba by Theodore Roosevelt\n July 1, 1905: Norway by Theodore Roosevelt\n\nThe Copyright Act of 1909 had its own prescriptions for extending copyright to other countries.\n\nSee also\n Bilateral copyright agreements of the United States\n\nFurther reading\n Allingham, Philip V. The Victorian Web. \"Nineteenth-Century British and American Copyright Law.\"\n Bowden, Edwin T. American Literature. \"Henry James and the Struggle for International Copyright: An Unnoticed Item in the James Bibliography.\" v. 24, no. 4: 1953 p. 537(3). \n Goldstein, Paul. American Literature. \"Copyright's Highway: From Gutenberg to the Celestial Jukebox.\", revised edition, 2003, Stanford University Press, , p. 150-151.\n\nReferences\n\nExternal links\n Allingham, Philip V.: Nineteenth-Century British and American Copyright Law\n Arts & Humanities Research Council: International Copyright Act (The Chace Act), Washington D.C. (1891)\n Laws.com: International Copyright Act of 1891 Overview\n Post, David G.: Some Thoughts on the Political Economy of Intellectual Property: A Brief Look at the International Copyright Relations of the United States\n US Copyright Office: International Copyright\n US Copyright Office: International Copyright Relations of the United States\n US Copyright Office: Notable Dates in American Copyright 1783-1969\n West, James L. W.: The Chace Act and Anglo-American Literary Relations\n WIPO: Berne Convention for the Protection of Literary and Artistic Works \nArchival footage of a discussion about The Copyright Act and Fair Use Doctrine in regards to dance material at Jacob's Pillow Dance Festival.\n\nUnited States federal copyright legislation\nCopyright legislation\n1891 in law\n1891 in American law\nMarch 1891 events"
] |
[
"Orrin Hatch",
"Intellectual property",
"Has HAtch introduced legislation about intellectual property?",
"Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in",
"What does the Copyright Term Extension Act do?",
"intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators.",
"In what way does this act protect copyright holders?",
"owners should be able to destroy the computer equipment and information of those suspected of copyright infringement,"
] |
C_5e15fa53c20c407a90a91f3dbb34f823_1
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Would this be permitted even if infringement has not been proven?
| 4 |
Would destroying computer equipment and information of suspected of copyright infringement be permitted even if infringement has not been proven?
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Orrin Hatch
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Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in 1997. Hatch believes intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators. Hatch caused an overnight controversy on June 17, 2003 by proposing that copyright owners should be able to destroy the computer equipment and information of those suspected of copyright infringement, including file sharing, he stated that "This may be the only way you can teach somebody about copyrights." In the face of criticism, especially from technology and privacy advocates, Hatch withdrew his suggestion days later, after it was discovered that Sen. Hatch's official website was using an unlicensed JavaScript menu from United Kingdom-based software developer Milonic Solutions. Milonic founder Andy Woolley stated that "We've had no contact with them. They are in breach of our licensing terms." Shortly after the publication of that story in Wired magazine, the company that runs Hatch's website contacted Milonic to start registration. One year later, he proposed the controversial INDUCE Act that attempted to make illegal all tools that could be used for copyright infringement if said tools were intentionally used for illegal copyright infringement. On September 20, 2010, Hatch once again attempted to outlaw websites which could be used for trademark and copyright infringement through the Combating Online Infringement and Counterfeits Act (COICA). This bill would authorize the United States Department of Justice to blacklist and censor all websites that the department deemed to be dedicated to "infringing activities". CANNOTANSWER
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he stated that "This may be the only way you can teach somebody about copyrights." In the face of criticism,
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Orrin Grant Hatch (born March 22, 1934) is an American attorney, retired politician, and composer who served as a United States Senator from Utah for 42 years (1977–2019). He is the longest-serving Republican U.S. Senator in history and the longest-serving U.S. Senator from Utah.
Hatch chaired the Senate Committee on Health, Education, Labor, and Pensions from 1981 to 1987. He also served as chair of the Senate Judiciary Committee from 1995 to 2001 and 2003 to 2005. On January 3, 2015, after the 114th United States Congress was sworn in, Hatch became President pro tempore of the Senate. He served as chairman of the Senate Finance Committee from 2015 to 2019. Hatch led the efforts to pass the Tax Cuts and Jobs Act of 2017. He retired in January 2019 and was succeeded by the 2012 Republican presidential nominee, Mitt Romney.
Early life and education
Orrin Grant Hatch was born and raised in Pittsburgh, Pennsylvania. He is the son of Jesse Hatch (1904–1992), a metal lather, and his wife Helen Frances Hatch (née Kamm; 1906–1995). Hatch had eight brothers and sisters, two of whom did not survive infancy. Hatch was profoundly affected by the loss of his older brother Jesse, a U.S. Army Air Forces nose turret gunner with the 725th Bombardment Squadron who was killed on February 7, 1945, when the B-24 he was aboard was shot down over Austria.
Hatch, who grew up in poverty, was the first in his family to attend college; he attended Brigham Young University and received a B.A. degree in history in 1959. He also fought 11 bouts as an amateur boxer. In 1962, Hatch received a J.D. degree from the University of Pittsburgh School of Law. Hatch has stated that during law school, he and his young family resided in a refurbished chicken coop behind his parents' house. Hatch worked as an attorney in Pittsburgh and moved to Utah in 1969, where he continued to practice law.
Elections
In 1976, in his first run for public office, Hatch was elected to the United States Senate, defeating Democrat Frank Moss, a three-term incumbent. Hatch criticized Moss's 18-year tenure in the Senate, saying, "What do you call a Senator who's served in office for 18 years? You call him home." Hatch ran on the promise of term limits and argued that many Senators, including Moss, had lost touch with their constituents.
In 1982, Hatch won re-election, defeating Mayor of Salt Lake City Ted Wilson by 17 points. He defeated Brian Moss (Frank Moss' son) by 35 points in 1988 and was re-elected in 1994, 2000, 2006, and 2012.
In 2000, Hatch sought the Republican presidential nomination. After finishing last in the Iowa caucuses, Hatch withdrew his candidacy on January 27, 2000, and endorsed eventual winner George W. Bush.
2012 Senate election
After the defeat of Utah's Senator Bob Bennett in 2010, conjecture began as to whether six-term Senator Hatch would retire in 2012. It was also speculated that Congressman Jason Chaffetz would run against Hatch, though Chaffetz would later decline. In January 2011, Hatch announced his campaign for re-election. Later, nine other Republicans, including former State Senator Dan Liljenquist and then-State Legislator Chris Herrod, declared campaigns for U.S. Senator.
Having elected state delegates in mid-March, both the Democratic and Republican parties held conventions on April 21, with the possibilities to determine their nominees for the November general election. At the Republican convention, Hatch failed to get the 60% vote needed to clinch the Republican nomination, so he faced Liljenquist (the second-place winner) in the primary June 26. Hatch won the primary easily. It was Hatch's first primary competition since his election in 1976. The Democratic convention chose former state Senator and IBM executive Scott Howell as the Democratic Party candidate. Hatch defeated Howell, receiving 65.2% of the vote to Howell's 30.2%.
2016 presidential endorsements
In the 2016 presidential election, Hatch originally supported former Florida Governor Jeb Bush and later endorsed Florida Senator Marco Rubio once Bush ended his campaign. On May 12, 2016, after Donald Trump became the presumptive Republican presidential nominee, Hatch endorsed him. On May 27, 2016, after Trump suggested that a federal judge Gonzalo P. Curiel was biased against Trump because of his Mexican heritage, Hatch said: "From what I know about Trump, he's not a racist but he does make a lot of outrageous statements...I think you can criticize a judge but it ought to be done in a formal way" and said that Trump's statements were not so inappropriate that he would rescind his support. On October 7, 2016, following the Donald Trump Access Hollywood controversy, Hatch described Trump's comments as "offensive and disgusting" and said that "[there] is no excuse for such degrading behavior. All women deserve to be treated with respect." Hatch maintained his endorsement of Trump's candidacy.
U.S. Senate tenure
Hatch took office as a U.S. senator on January 3, 1977. He chaired the Senate Committee on Health, Education, Labor, and Pensions from 1981 to 1987. He also served as chair of the Senate Judiciary Committee and the Senate Finance Committee.
In September 1989, Hatch was one of nine Republican senators appointed by Senate Republican Leader Robert Dole to negotiate a dispute with Democrats over the financing of President Bush's anti-drug plan that called for spending $7.8 billion by the following year as part of the president's efforts to address narcotics nationwide and abroad.
Hatch expressed interest in serving on the United States Supreme Court. It was reported that he was on Ronald Reagan's short list of candidates to succeed Lewis F. Powell Jr. on the Supreme Court, but was passed over at least in part because of the Ineligibility Clause. Despite that, he vocally supported Robert Bork, who was chosen instead.
Hatch "worked across the aisle to pass landmark legislation, including the Americans with Disabilities Act and the Children's Health Insurance Program". During the 1991 confirmation hearings regarding the Supreme Court nomination of Clarence Thomas, Hatch "famously defended Thomas...by reading aloud from 'The Exorcist' to suggest Anita Hill lifted details of her sexual harassment allegations from the horror book".
On January 3, 2015, after the 114th United States Congress was sworn in, Hatch became President pro tempore of the Senate.
Hatch was absent from the 2017 Inauguration Day festivities. At the request of President-elect Donald Trump, he agreed to serve as designated survivor during the inauguration and was kept at a secure, undisclosed location.
On December 25, 2017, the Salt Lake Tribune published an editorial entitled "Why Orrin Hatch is Utahn of the Year." The newspaper described its criteria for the designation as "Utahn of the Year" as "the Utahn who, over the past 12 months, has done the most. Has made the most news. Has had the biggest impact. For good or for ill." The editorial criticized Hatch for his role in the size reduction of the Grand Staircase-Escalante National Monument and the passage of the Tax Cuts and Jobs Act of 2017 and accused him of lacking integrity.
Hatch announced on January 2, 2018, that he would retire from the Senate instead of seeking re-election that November. Hatch retired from the Senate on January 3, 2019, having served there for 42 years. At the time of his retirement announcement, he was the longest-serving U.S. Senator in Utah history (having eclipsed previous record-holder Reed Smoot in 2007), the longest-serving Republican U.S. Senator in the history of Congress, and also one of the longest-serving Republican members of Congress in the history of the United States. Hatch surpassed fellow senators Ted Stevens and Strom Thurmond, who joined the Republican Party in 1964, and was later surpassed by Chuck Grassley and Don Young.
Political positions and votes
Abortion
Hatch was strongly opposed to abortion and was the author of the Hatch Amendment to the Constitution, which stated that there is no constitutional right to abortion and empowered the states to restrict abortion as they saw fit.
Anti-terrorism
In 1995, Hatch was the leading figure behind the senate's anti-terrorism bill, to a large extent a response to the Oklahoma City Bombing. Elements of the bill were criticised by the Anti-Defamation League and American Jewish Committee on civil liberties grounds, especially the new limits imposed on habeas corpus in capital cases.
As a senior member of the Senate Select Intelligence Committee, Hatch was also instrumental in the 2008 extension of the Foreign Intelligence Surveillance Act. He said, "This bipartisan bill will help defeat terrorism and keep America safe. No, the legislation is not perfect, but it ensures that the increased expansion of the judiciary into foreign intelligence gathering doesn't unnecessarily hamper our intelligence community."
Bailouts
Hatch voted in favor of the 2008 legislation that established the Troubled Asset Relief Program (TARP). In 2011, Hatch said that he "probably made a mistake voting for it", and also claimed "at the time, we were in real trouble and it looked like we were ready for a depression. I believe we would have gone into a depression."
He voted against the renewal of TARP in 2009, and the renewal was voted down by 10 votes in the Senate.
Hatch voted in favor of the Housing and Economic Recovery Act of 2008. The bill authorized $300 billion to guarantee mortgages and restore confidence in Fannie Mae and Freddie Mac.
Balanced budget amendment
Hatch has been a longtime advocate of amending the United States Constitution to require that total spending of the federal government for any fiscal year not exceed total receipts.
During his time in the Senate, Hatch has sponsored a balanced budget amendment 17 times—4 times as lead sponsor and 13 times as a co-sponsor. He also voted in favor of passing a Balanced Budget Amendment on at least 9 occasions. Hatch's proposed amendment passed the House of Representatives in 1997, but failed to pass the Senate by the required two-thirds majority by one vote to move on the states for ratification.
Bank of Credit and Commerce International
In January 1990, the federal judge in a case against the Bank of Credit and Commerce International (BCCI) accepted a 1989 plea bargain offered to the bank by the U.S. Department of Justice. The bank was to pay $15 million in fines and only admit that it had laundered drug money. Afterward, Hatch presented an impassioned defense of the bank in a speech on the Senate floor. It had been largely written for him by the bank's attorney Robert Altman. Hatch said, "The case arose from the conduct of a small number of B.C.C.I.'s more than 14,000 employees." Since 1989, Hatch and his aide, Michael Pillsbury, had been involved in efforts to counter the negative publicity that surrounded the bank. Hatch had also solicited the bank to approve a $10 million loan to a close friend, Monzer Hourani. In 1991, B.C.C.I. was shut down after regulators accused it of one of the biggest international financial frauds in history. Law enforcement officials accused the bank of making bribes throughout the third world to arrange government deposits. Clark Clifford, a former presidential advisor and Defense Secretary, and Altman, his law partner, were charged with taking bribes from B.C.C.I., in exchange for concealing its illegal ownership of First American Bankshares, a Washington holding company which Clifford chaired. Both had denied the charges, which were filed in New York State and Federal courts. In 1992, in a "Report to the Committee on Foreign Relations of the United States Senate," prepared by committee members, U.S. Senators John Kerry (D-MA) and Hank Brown (R-CO), noted that a key strategy of "BCCI's successful secret acquisitions of U.S. banks in the face of regulatory suspicion was its aggressive use of a series of prominent Americans," Clifford amongst them. The relationship with Hourani included the receipt of campaign contributions laundered through his employees, for which Hourani was fined $10,000, as well as his purchase of 1,200 CDs of Hatch's songs, for which Hatch received $3 to $7 each, and the management of a blind trust for Hatch. These led to a Senate Ethics Committee investigation, by which Hatch was eventually cleared.
Energy
As chairman of the Senate Finance Committee, Hatch has investigated the use of what are known as Section 1603 grants and tax credits. The Section 1603 program was created in President Barack Obama's 2009 stimulus package with the intention of subsidizing green energy production. Since 2009, the federal government has given out $25 billion in cash grants on behalf of the program. Hatch has investigated the program on several occasions. On June 9, 2016, his office requested from Department of Treasury, the Internal Revenue Service (IRS) and the Treasury Inspector General for Tax Administration (TIGTA) details about how companies use the program. In March 2016, Hatch asked the IRS and Treasury Department to demonstrate that the agencies use safeguards and coordinate with each other when reviewing applications for Section 1603 grants. Per his June letter to Treasury Secretary Jack Lew, the agencies have cooperated with Hatch's investigation.
Health care reform
Hatch opposed President Barack Obama's health reform legislation; he voted against the Affordable Care Act in December 2009, and he voted against the Health Care and Education Reconciliation Act of 2010.
Hatch has argued that the insurance mandate found in the legislation is not in the category that can be covered by the interstate commerce clause since it regulates the decision to engage in commercial activity rather than regulating the activity itself. He therefore regards the Act as unconstitutional. NPR called Hatch a "flip-flopper" on this issue since in 1993 Hatch co-sponsored a bill along with 19 other Senate Republicans that included an individual insurance mandate as a means to combat healthcare legislation proposed by Hillary Clinton. In 2018, Hatch said that Obamacare supporters were "the stupidest, dumbass people I've ever met".
Hatch was one of the first Senators to suggest that the individual mandate was unconstitutional and promised to work on dismantling it when he becomes the Finance Committee Chairman. Hatch was part of the group of 13 Senators drafting the Senate version of the AHCA behind closed doors.
In 2003, Hatch supported the Medicare prescription drug benefit plan known as Medicare Part D. Responding to criticism of the legislation during the 2009 debate on health care reform, Hatch said that in 2003 "it was standard practice not to pay for things" and that although there was concern at the time about increasing the deficit, supporting the bill was justified because it "has done a lot of good".
On March 25, 2014, Hatch cosponsored the Emergency Medical Services for Children Reauthorization Act of 2014 in the Senate. The bill that would amend the Public Health Service Act to reauthorize the Emergency Medical Services for Children Program through FY2019. The bill would authorize appropriations of about $20 million in 2015 and $101 million over the 2015–2019 period. Hatch argued that "children require specialized medical care, and that specialized care comes with unique challenges. The EMSC program helps ensure that some of our country's most vulnerable have access to the care they need, and I've been proud to support it all these years."
Immigration
Hatch was one of the architects and advocates of the expansion of H-1B visas and has generally been an advocate of tougher enforcement immigration policy including voting for 1,500 new law enforcement agents to patrol the border. His 2010 Immigration Bill titled Strengthening Our Commitment to Legal Immigration and America's Security Act has received the support of the Center for Immigration Studies (CIS). He also proposed the DREAM Act, which would provide a pathway to citizenship for the children of undocumented immigrants, who were children when their parents came to the United States.
Hatch critiqued President Donald Trump's 2017 executive order to temporarily suspend immigration from seven Muslim countries until better screening methods are devised. He reflected on his own family's immigration history and described the order as placing "unnecessary burdens" on families.
Judicial nominations
As ranking minority member of the Senate Judiciary Committee, Hatch fought hard to get conservative judges nominated to the Supreme Court. He took a leading role in the Senate confirmation hearings of Clarence Thomas in October 1991. He was also a strong supporter of Jay Bybee during Bybee's confirmation hearings for a seat on the United States Court of Appeals for the Ninth Circuit, stating "I've seen a lot of people around and a lot of judges and I don't know of anybody who has any greater qualifications or any greater ability in the law than you have."
Nevertheless, in 1993, Hatch recommended Ruth Bader Ginsburg, whom he knew personally, to President Bill Clinton to fill a vacancy on the U.S. Supreme Court, even as he knew she was a political liberal. Clinton had not previously considered Ginsburg, and Hatch, as ranking member of the Senate Judiciary Committee, assured him that a Ginsburg confirmation would go smoothly.
With regards to the Senate filibuster being used to stall President Barack Obama's judicial appointments, Hatch voted against the November 2013 reforms, which eliminated the use of the filibuster on executive branch nominees and judicial nominees other than to the Supreme Court. In September 2014, Hatch argued that the filibuster should be restored, saying: "We should get it back to where it was. You can see the destruction that has happened around here." However, in November 2014, after the Republicans retook control of the Senate following the 2014 elections, Hatch wrote in The Wall Street Journal that "if Republicans re-establish the judicial-nomination filibuster, it would remain in place only until the moment that a new Democratic majority decided that discarding the rule again would be useful" and called for "the next Republican president to counteract President Obama's aggressive efforts to stack the federal courts in favor of his party's ideological agenda" by nominating conservative judges.
As an opponent of the confirmation of Merrick Garland, Hatch submitted to the Deseret News an opinion piece stating that, after meeting with Garland, his opinion on blocking Garland had not changed; the piece was published prior to Hatch's meeting with Garland. On March 13, 2016, regarding the nomination of Supreme court candidates by Obama, Hatch stated "a number of factors have led me to conclude that under current circumstances the Senate should defer the confirmation process until the next president is sworn in".
Intellectual property
Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in 1997. Hatch believes intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators.
Hatch caused an overnight controversy on June 17, 2003, by proposing that copyright owners should be able to destroy the computer equipment and information of those suspected of copyright infringement, including file sharing, he stated that "This may be the only way you can teach somebody about copyrights." In the face of criticism, especially from technology and privacy advocates, Hatch withdrew his suggestion days later, after it was discovered that Sen. Hatch's official website was using an unlicensed JavaScript menu from United Kingdom-based software developer Milonic Solutions. Milonic founder Andy Woolley stated that "We've had no contact with them. They are in breach of our licensing terms." Shortly after the publication of that story in Wired magazine, the company that runs Hatch's website contacted Milonic to start registration.
On September 20, 2010, Hatch once again attempted to outlaw websites which could be used for trademark and copyright infringement through the Combating Online Infringement and Counterfeits Act (COICA). This bill would authorize the United States Department of Justice to blacklist and censor all websites that the department deemed to be dedicated to "infringing activities".
LGBT rights
The Salt Lake Tribune reported that in 1977, Hatch told students from the University of Utah, "I wouldn't want to see homosexuals teaching school anymore than I'd want to see members of the American Nazi Party teaching school." Hatch supported the Defense of Marriage Act in 1996.
In 2012, Hatch recommended and supported District Court Judge Robert Shelby, a Barack Obama appointee, though Utah Senator Mike Lee, voted against him in the Judiciary Committee. In 2013 Shelby overturned Utah's ballot Amendment 3, which constitutionally defined marriage as between a man and a woman.
In April 2013, Hatch stated that he viewed same-sex marriage as "undermining the very basis of marital law", but declined to support a Federal Marriage Amendment and endorsed same-sex couples' right to form a civil union, stating that the law should "give gay people the same rights as married people". Later that same year, Hatch voted in favor of the Employment Non-Discrimination Act, legislation creating protected classes for those identifying as gay, lesbian, bisexual or transgender. In 2018, Hatch "honored Pride" by giving a speech in support of programs to help and serve LGBT youth.
Nuclear testing
During Hatch's first year in the Senate in 1977, reporter Gordon Eliot White of the Deseret News published the first of what would be a lengthy series of articles detailing government malfeasance in atmospheric testing of nuclear bombs at the Nevada Test Site. Over the next 13 years White's articles detailed how the government determined to proceed with the tests, and with mining and refining, without adequate safeguards for innocent citizens whose health would be damaged. Though Hatch feared an investigation would endanger the nation's nuclear deterrence versus the Soviet Union and the People's Republic of China, by 1979 he was pushing for hearings on the issue before the Senate Labor Committee. Hatch prevailed on Committee Chairman Ted Kennedy to hold field hearings in Utah in 1980. At the end of 1980, Hatch was positioned to chair the committee himself.
By 1984, Hatch had held a dozen hearings, passed legislation requiring scientific investigation of the injuries and had enlisted the aid of the National Science Foundation and National Cancer Institute, but still could not muster the votes to get a bill. When a vote was obtained in the Senate in 1985 (as an amendment to a bill to compensate Pacific Islanders for nuclear tests in the 1950s), it failed by a handful of votes. Hatch discovered a clause in the proposed Treaty of Peace and Friendship with Kiribati and Tuvalu to pay at least $100 million to residents of the Marshall Islands for injuries similar to those of Utahns, and Hatch took the treaty hostage. His hold on consideration of the treaty eventually got agreement from the Reagan administration to agree not to oppose radiation compensation for Utah citizens, but it still took another five years to get the bill through. The Radiation Exposure Compensation Act of 1990 provided compensation for citizens injured by radioactive fallout from the tests.
In December 2010, Hatch was one of twenty-six senators who voted against the ratification of New Start, a nuclear arms reduction treaty between the United States and Russian Federation obliging both countries to have no more than 1,550 strategic warheads as well as 700 launchers deployed during the next seven years along with providing a continuation of on-site inspections that halted when START I expired the previous year. It was the first arms treaty with Russia in eight years.
Opioid crisis
Hatch introduced the Ensuring Patient Access and Effective Drug Enforcement Act, narrowing the broad authority of the DEA to suspend drug "manufacturers, distributors, and dispensers". Hatch stated the bill was also written to protect patients from disruptions in the production and delivery of their prescription drugs: "The fact that prescription drugs can be abused should not prevent patients from receiving the medications they need. This bill takes a balanced approach to the problem of prescription drug abuse by clarifying penalties for manufacturing or dispensing outside approved procedures while helping to ensure that supply chains to legitimate users remain intact". The bill passed the Senate unanimously and Tom Marino passed a version of the bill in the House and was signed by President Barack Obama.
Critics of the bill claim the new law fuels the opioid crisis by limiting the DEA's ability to halt production and distribution by predatory drug companies. DEA Chief Administrative Law Judge John J. Mulrooney II wrote in the Marquette Law Review: "At a time when, by all accounts, opioid abuse, addiction and deaths were increasing markedly, this new law imposed a dramatic diminution of the agency's authority. It is now all but logically impossible for the DEA to suspend a drug company's operations for failing to comply with federal law." Donald Trump's Attorney General Jeff Sessions said he was "dubious" about the law when it passed and joined 44 state attorneys general calling for "repeal or amendment of the law to restore some of the DEA's authority." Jim Geldhof, a former DEA program manager whom spent 43 years with the DEA called the bill "outrageous. It basically takes any kind of action DEA was going to do with a distributor or manufacturer as far as an immediate suspension off the table. And then the other part of that really infuriates me is that corrective action plan." Mulrooney compared the corrective action plan to one that would "allow bank robbers to round up and return inkstained money and agree not to rob any more banks — all before any of those wrongdoers actually admit fault and without any consequence that might deter such behavior in the future."
Hatch responded to a Washington Post and 60 Minutes investigation into the bill by writing a Washington Post opinion article calling the investigation "misleading" and asking to "leave conspiracy theories to Netflix". Senator Sheldon Whitehouse, a co-sponsor of the senate bill, also defended the bill: "This bill was drafted in consultation with the DEA to offer better guidance for companies working to safely and responsibly supply prescription drugs to pharmacies, and to promote better communication and certainty between companies and regulators." Republican Pat Toomey expressed doubts that a conspiracy existed, but still suggested amending the bill: "I'm a little surprised that it passed unanimously in both houses, was signed by President Obama and got no opposition from the DEA at the time. That's not the way controversial legislation usually ends up, but hey, if there's problems, then we ought to revisit them."
Hatch received $177,000 in donations from the drug industry while pushing the bill through and has received $2,178,863 from the Pharmaceuticals/Health Products industry from 1989 to 2014 according to required filings by the Federal Election Commission.
Privacy
In 2017, Hatch voted to prevent online and telecommunication privacy protections from taking effect.
Religious freedom
Hatch was the main author of the Religious Land Use and Institutionalized Persons Act, which protected all religions' right to build church facilities on private property. In 2010, Hatch defended the right of a private organization to build a mosque on private property in downtown Manhattan, citing this law and defense of the freedom of religion.
Presidential Medal of Freedom
On November 16, 2018, President Donald Trump awarded Hatch with the highest civilian honor, the Presidential Medal of Freedom.
Other issues
In 1980, Hatch spoke in favor of rolling back provisions of the Fair Housing Act enforced by the Office of Fair Housing and Equal Opportunity. Acting on his motion in 1988, Congress eventually voted to weaken the ability of plaintiffs to prosecute cases of discriminatory treatment in housing. At the time the 1988 Fair Housing Amendments were being debated, he introduced a bill endorsed by the National Association of Realtors to severely limit who can file anti-discrimination suits and to make the proceedings a private affair.
In 1999, Hatch called for a federal probe into manufacturers of violent video games, and proposed making the existing voluntary rating system for video games (ESRB) mandatory by federal law.
Hatch pushed legislation for the Equal Opportunity to Govern Amendment, which would amend Article 2, Section I, Clause 5 of the United States Constitution. This amendment would allow anyone who has been a U.S. citizen for twenty years to seek the presidency or vice-presidency.
A vocal supporter of stem cell research, Hatch was one of 58 senators who signed a letter directed to President George W. Bush, requesting the relaxing of federal restrictions on embryonic stem cell research. In 2010, Hatch's bill was reauthorized which allowed stem cells from umbilical cords to be used to find treatment options.
In 2011, Hatch was criticized for comments he made suggesting that the rich have an unfair financial burden in the current tax system.
In June 2013, Hatch commented on a G8 proposal that tax authorities in the world's largest economies openly share information among themselves in order to fight tax evasion. The proposal has strong suggestions about ways to make companies more transparent and governments more accountable for their tax policies. Hatch stated that transparency is always a good thing, but he would like to see a bill before giving any support.
In 2017, Hatch was one of 22 senators to sign a letter to President Donald Trump urging the President to have the United States withdraw from the Paris Agreement. According to the Center for Responsive Politics, Hatch has received over $470,000 from oil, gas and coal interests since 2012.
In 2018, over the Judge Kavanaugh Supreme Court controversy, Hatch said that it did not matter even if Kavanaugh did what his accusers alleged was true. Hatch said, "If that was true, I think it would be hard for senators to not consider who the judge is today. That's the issue. Is this judge a really good man? And he is. And by any measure he is.”
Hatch voted for the impeachment of President Bill Clinton in 1999, saying "committing crimes of moral turpitude such as perjury and obstruction of justice go to the heart of qualification for public office... This great nation can tolerate a president who makes mistakes. But it cannot tolerate one who makes a mistake and then breaks the law to cover it up. Any other citizen would be prosecuted for these crimes." In 2018, in the wake of court filings that implicated President Trump in campaign finance violations and in attempting to buy the silence of women who alleged affairs with Trump, Hatch said, "I don't care, all I can say is he's doing a good job as president."
In April 2018, Hatch was one of eight Republican senators to sign a letter to United States Secretary of the Treasury Steve Mnuchin and acting Secretary of State John Sullivan expressing "deep concern" over a report by the United Nations exposing "North Korean sanctions evasion involving Russia and China" and asserting that the findings "demonstrate an elaborate and alarming military-venture between rogue, tyrannical states to avoid United States and international sanctions and inflict terror and death upon thousands of innocent people" while calling it "imperative that the United States provides a swift and appropriate response to the continued use of chemical weapons used by President Assad and his forces, and works to address the shortcomings in sanctions enforcement."
Committee assignments
Committee on Finance (Chairman)
As Chairman of the full committee, Hatch may serve as an ex officio member of all subcommittees of which he is not already a full member.
Subcommittee on International Trade, Customs, and Global Competitiveness
Subcommittee on Social Security, Pensions and Family Policy
Committee on the Judiciary
Subcommittee on Antitrust, Competition Policy and Consumer Rights
Subcommittee on Crime and Drugs
Subcommittee on Terrorism, Technology and Homeland Security
Committee on Health, Education, Labor, and Pensions
Subcommittee on Children and Families
Subcommittee on Employment and Workplace Safety
Special Committee on Aging
Joint Committee on Taxation
Impeachment Trial Committee on the Articles against Judge G. Thomas Porteous, Jr. (Vice Chair)
Caucus memberships
Afterschool Caucuses
Judd Gregg's 2011 retirement created a domino effect among high-profile Senate Republicans: Jeff Sessions took his spot as Ranking Republican on the Senate Budget Committee; Chuck Grassley in turn took his spot on the Senate Judiciary Committee, and Hatch took the top Republican spot on the Senate Finance Committee.
Lobbying ties
Hatch's son Scott Hatch was formerly a partner and registered lobbyist at Walker, Martin & Hatch LLC, a Washington lobbying firm. The firm was formed in 2001 with Jack Martin, a staff aide to Hatch for six years, and H. Laird Walker, described as a close associate of the senator. In March 2003, the Los Angeles Times reported that the firm was formed with Hatch's personal encouragement and that he saw no conflict of interest in working on issues that involved his son's clients. In 2009, the Washington Times reported that Hatch said "My son, Scott, does not lobby me or anyone in my office".
In March 2009, the Washington Times reported that the pharmaceutical industry, which has benefited from Hatch's legislative efforts, had previously unreported connections to Hatch. In 2007, five pharmaceutical companies and the industry's main trade association, Pharmaceutical Research and Manufacturers of America (PhRMA), donated $172,500 to the Utah Families Foundation—a charitable foundation which Hatch helped start in the 1990s and has continued to support since. Walker, Martin & Hatch LLC was paid $120,000 by PhRMA in 2007 to lobby Congress on pending U.S. Food and Drug Administration legislation.
Electoral history
Personal life
Hatch married Elaine Hansen on August 28, 1957. They have six children.
Hatch is a member of The Church of Jesus Christ of Latter-day Saints (LDS Church). Although he was born in Pennsylvania, his parents had been raised in Utah and he had ancestors who were members of the LDS Church in Nauvoo, Illinois. Hatch served as an LDS missionary in what was called the "Great Lakes States Mission" essentially covering large parts of Indiana, Michigan and Ohio. Hatch has since served in various positions in the LDS Church, including as a bishop.
Hatch is a founder and co-chair of the Federalist Society, an organization of conservative lawyers.
Hatch serves as a member of the board of directors of the United States Holocaust Memorial Museum. In a 1996 interview on 60 Minutes, Hatch claimed to wear a mezuzah necklace in order to remind himself that another holocaust should never be allowed to occur.
Despite their political differences, Hatch was a longtime friend of fellow senator Ted Kennedy, speaking at his memorial service and publicly suggesting Kennedy's widow as a replacement for Kennedy in the Senate.
Musical career and film appearances
Hatch plays the piano, violin and organ. Fueled by his interest in poetry, Hatch has written songs for many. He co-authored "Everything And More," sung by Billy Gilman. In addition to his job as a United States Senator, Hatch has earned over $10,000 as an LDS music recording artist.
Hatch wrote the lyrics for and participated in the recording of "Eight Days of Hanukkah" in 2009. The song's music was composed by Madeline Stone.
Hatch also has a history in arts management. In the early 1970s he was the band manager for a Mormon-themed folk group called the Free Agency. The Free Agency was made up of members of an earlier Mormon group called the Sons of Mosiah, that was formed when guitarist David Zandonatti and vocalist Ron McNeeley relocated to Utah after their San Francisco based psychedelic group Tripsichord Music Box disbanded in 1971. The group also included Lynn Bryson and Alan Cherry.
Rock musician Frank Zappa composed a guitar instrumental entitled "Orrin Hatch On Skis," which appears on his 1988 album, Guitar.
In March 1997, Orrin Hatch and Janice Kapp Perry jointly recorded an album of music with Tree Music entitled "My God Is Love". Later albums with Perry included "Come to the Manger".
Hatch and Janice Kapp Perry co-wrote the song "Heal Our Land", which was performed at George W. Bush's January 2005 inauguration.
Hatch appeared as himself, alongside Chuck Grassley, in Steven Soderbergh's Oscar-winning drama Traffic, in a brief cameo in a scene set during a Washington D.C. cocktail party. Soderbergh later featured one of Hatch's songs, Souls Along The Way, in his film Ocean's 12 as background music for a scene in Hatch's home state Utah.
Hatch's likeness was featured in the 30 Rock episode "Jack Gets in the Game" as one of Dr. Leo Spaceman's famous clients.
In 2009, at the request of The Atlantic correspondent Jeffrey Goldberg, Hatch authored the lyrics to "Eight Days of Hanukkah", described by Goldberg as "a hip hop Hannukah song written by the senior senator from Utah."
Hatch appeared in a scene in the Parks and Recreation episode "Ms. Ludgate-Dwyer Goes to Washington" alongside Cory Booker.
Hatch along with Lowell Alexander and Phil Naish composed the song, "Blades Of Grass And Pure White Stones".
Writing
Orrin Hatch, The Equal Rights Amendment: Myths and Realities, Savant Press (1983)
Orrin Hatch, Higher Laws: Understanding the Doctrines of Christ , Shadow Mountain (June 1995)
Orrin Hatch, Square Peg: Confessions of a Citizen Senator, Basic Books (October 15, 2002)
Hatch's autobiography describes the challenges of balancing home and professional life as a Senator, and recounts anecdotes from his campaign experience and some of his higher-profile assignments in the Senate, such as the Confirmation Hearings of Robert Bork and Clarence Thomas.
Orrin Hatch, Orrin Hatch, the L.D.S. Mormon Politician as Songwriter, text of an interview of Orrin Hatch by Phillip K. Bimstein, in Washington, D.C., August 14, 2003, transcribed by Jonathan Murphy, New York City, American Music Center, 2003, without ISBN.
Hatch also is the author of several law review articles.
Honors
Hatch has been awarded the following:
Commander of the Order of the Star of Romania, Romania (June 8, 2017)
Order of Duke Branimir, Republic of Croatia (October 29, 2018)
Presidential Medal of Freedom (November 16, 2018)
Secretary of the Air Force Distinguished Public Service Award (December 11, 2018)
See also
Hatch-Waxman Act
Internet Community Ports Act
Pirate Act
References
External links
Collected news and commentary at The Salt Lake Tribune
Profile at SourceWatch
Orrin Hatch papers, 1861
Orrin Hatch papers, MSS 6057 at L. Tom Perry Special Collections, Brigham Young University
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1934 births
Candidates in the 2000 United States presidential election
20th-century American politicians
20th-century Mormon missionaries
21st-century American politicians
American Latter Day Saint hymnwriters
American leaders of The Church of Jesus Christ of Latter-day Saints
American Mormon missionaries in the United States
American performers of Christian music
Brigham Young University alumni
Information Technology and Innovation Foundation
Latter Day Saints from Pennsylvania
Latter Day Saints from Utah
Living people
Mitt Romney
Pennsylvania lawyers
Politicians from Pittsburgh
Presidential Medal of Freedom recipients
Presidents pro tempore of the United States Senate
Commanders of the Order of the Star of Romania
Republican Party United States senators
United States senators from Utah
University of Pittsburgh School of Law alumni
Utah lawyers
Utah Republicans
Writers from Utah
Federalist Society members
American composers
Conservatism in the United States
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"In trademark law, confusing similarity is a test used during the examination process to determine whether a trademark conflicts with another, earlier mark, and also in trademark infringement proceedings to determine whether the use of a mark infringes a registered trademark.\n\nIn many jurisdictions this test has been superseded by the concepts of similarity and likelihood of confusion, due to the harmonizing effects of the Agreement on Trade-Related Aspects of Intellectual Property Rights.\n\nInfringement\nWhere mark X is not identical to a registered trademark, the use of mark X may still amount to an infringement if it is \"confusingly similar\" to the registered trademark. Mark X may share elements of spelling or style that would lead a reasonable observer to believe the trademarks were related. \n\nFor example, in the computer industry, Microsoft has become such a well known trade name and trade mark that other businesses in the industry may want to use the term \"micro\" or \"soft\" in their names. As Microsoft generally does not hold exclusive rights in these terms, it would need to establish that any trade names or trademarks which include these terms is confusingly similar to \"Microsoft\". The reputation attaching to a trademark is also significant, such that \"Microsafe\" or \"Micro Software\", although clearly not identical, could potentially be confusingly similar and amount to an infringement.\n\nIn addition, the style of a trade mark, such as a logo or font, can become relevant. For example, Microsoft products are distinguished in the marketplace by a consistent font. Competitors may not use the same font on their product, particularly when using a name which would not be confusingly similar except for the use of the font. For example, a brand called \"Microsystems\" would most likely not be confused with Microsoft. However if Microsystems used the same font as Microsoft, it would be confusingly similar. Some styles, like the script used on Coca-Cola products, are so well known that even a completely different name in a similar script could be held to be confusingly similar.\n\nCases of this type can be proven by using surveys which show that members of the public who are likely to use the services or goods protected by the trade mark have been confused by it. However, courts can also take judicial notice that an infringing mark is confusingly similar if it is obvious to even a casual observer.\n\nIn election law\nThere are examples of electoral confusion caused by would-be candidates deliberately choosing similar names to confuse the electorate, hence potentially affecting the outcome of an election. For example, in three instances in the United Kingdom during 1994–5: a candidate attempting to stand as a member of the 'Literal Democrat' party (in the UK there is a Liberal Democrats Party), and two instances of candidates standing for the 'Conservatory' party and the 'Conversative' party (against the Conservative Party candidate). All candidatures were rejected by the Returning Officer and the candidates had to stand using more distinguishable party names.\n\nIn the 2019 Canadian Federal Election the satirical Rhinoceros Party ran a candidate by the name of Maxime Bernier in the riding of Beauce. The seat was also being contested by the incumbent MP and leader of the People's Party of Canada, Maxime Bernier.\n\nSee also\nA moron in a hurry\nApple Corps v. Apple Computer\nMicrosoft vs. MikeRoweSoft\nCounteraction principle\n\nReferences\n\nTrademark law\nElection law",
"Once an invention is patented in Canada, exclusive rights are granted to the patent holder as defined by s.42 of the Patent Act (R.S.C., 1985, c. P-4). Any interference with the patent holder's \"full enjoyment of the monopoly granted by the patent\" is considered a patent infringement. Making, constructing, using, or selling a patented invention without the patent holder's permission can constitute infringement. Possession of a patented object, use of a patented object in a process, and inducement or procurement of an infringement may also, in some cases, count as infringement.\n\nCanadian Statute\nIn Canada, patents are governed by the Patent Act. Section 42 of the Patent Act establishes the rights of a patent holder:\n\nBy granting the patent holder the exclusive right, privilege and liberty of making, constructing, using, and selling the invention, the patent act establishes that any other person making, constructing, using, or selling the patented invention is infringing that patent. Whether there has been an infringement of a patent is usually a question of fact.\n\nThe Patent Act is a federal statute and thus bilingual. Under the Constitution Act, 1982, both the English and French versions of the statute hold equal status before the courts. The terms \"making, constructing, using, and selling\" should be read in the context of their French counterparts, \"fabriquer, construire, exploiter et vendre\". This has affected the interpretation of the term \"use\" in cases involving patent infringement.\n\nMaking, constructing, and selling\nBefore an infringement can be established, it is necessary to construct the claims to determine what elements of the invention are essential and which are non-essential. Once the essential elements are established, making, constructing or selling something that copies the essential elements will be considered infringing.\n\nPurposive construction of claims\nCanadian patents should be given a purposive construction. The words used by the inventor are read in a manner consistent with what it is presumed the inventor intended; the interpretation should be sympathetic to the express or implicit purpose of the patent. The inventor's intent must be based on the patent, the court is not allowed to use extrinsic evidence of the inventor's intent. Courts should not take a purely literal interpretation of the patent, courts should determine whether a Person Skilled in the Art would conclude that strict adherence was essential or that a substitute or slight variation would not affect the invention. A person skilled in the art is a Canadian legal fiction used in patent law that is meant to denote someone of practical skill and knowledge in the subject matter of the patent, such as a technician. A Person Skilled in the Art is similar to the American standard of Person Having Ordinary Skill in the Art.\n\nA patented invention is thus separated into essential and non-essential elements. For an element to be classified as non-essential, it must be true that either:\nThe words, interpreted purposively, make it clear that the element is not essential, or\nThat, as of the date of publication, a person skilled in the art would have known of a substitute or variation that would not have affected how the invention works\n\nAny element that is not classified as non-essential is considered essential. It is important to note that if a patent is clear that an element is essential, then that element will be essential even if, at the time of publication of the patent, an element could be easily substituted or varied.\n\nInfringement\nIt is an infringement to make, construct, or sell a thing that copies the essential elements of a patented invention without permission. Substitution or omission of a non-essential elements is not sufficient to make something non-infringing. The Canadian patent holder thus receives protection \"against a device that performs substantially the same function in substantially the same way to obtain substantially the same result\", similar to the protection available to an American patent holder under the doctrine of equivalents.\n\nOnce the essential elements of the patented invention are established, determining whether there is an infringement is simply an exercise in comparison between the allegedly infringing thing and the patented invention. If the essential elements of the patented invention are present in the thing in issue, then that thing is infringing.\n\nIn general, a defendant's intention is not relevant in establishing an infringement: the fact of infringement is sufficient. An exception arises in cases of infringement by possession. You can rebut a claim of infringement by possession by showing there was no intent to use or benefit from that possession.\n\nUsing\nCases alleging infringement based on \"use\" require special attention due to the difficulty in interpreting the term \"use\". Interpretation of the term \"use\" begins with the plain meaning of the words \"use\" and its French complement \"exploiter\". \"Exploiter\" was found to lend clarification to the term \"use\" in patent law, leading to a definition of \"utilization with a view to production or advantage\". Following the rules of statutory interpretation, this plain meaning of \"use\" was interpreted based on the purpose of the Patent Act, the context of the other words in the provision, and the wisdom of case law. In the context of patent infringement, \"use\" is defined as any activity that \"deprives the inventor in whole or in part, directly or indirectly, of full enjoyment of the monopoly conferred by law\".\n\nThe court, in Monsanto Canada Inc. v. Schmeiser, summarizes the interpretation of \"use\":\n\n\"Use\" or \"exploiter\", in their ordinary dictionary meaning, denote utilization with a view to production or advantage.\nThe basic principle in determining whether the defendant has \"used\" a patented invention is whether the inventor has been deprived, in whole or in part, directly or indirectly, of the full enjoyment of the monopoly conferred by the patent.\nIf there is a commercial benefit to be derived from the invention, it belongs to the patent holder.\nIt is no bar to a finding of infringement that the patented object or process is a part of or composes a broader unpatented structure or process, provided the patented invention is significant or important to the defendant's activities that involve the unpatented structure.\nPossession of a patented object or an object incorporating a patented feature may constitute \"use\" of the object's stand-by or insurance utility and thus constitute infringement.\nPossession, at least in commercial circumstances, raises a rebuttable presumption of \"use\".\nWhile intention is generally irrelevant to determining whether there has been \"use\" and hence infringement, the absence of intention to employ or gain any advantage from the invention may be relevant to rebutting the presumption of use raised by possession.\n\nThe court also found that \"use\" applies to products, processes, and their outputs - even if the output itself is unprotected. This includes output where the patented invention is an intermediary in a production process. This means that an imported, unpatented object may still infringe a patent if its production infringed the patent.\n\n\"Use\" can also be established when the invention is not used for its intended process. It is sufficient to show that the invention was used to the defendant's benefit. Deriving a benefit from a patented invention is deemed to deprive the patent holder from full enjoyment of the monopoly.\n\nAs a part or composition\nIt is considered an infringement to manufacture, use, or even seek to use an unpatented object without permission if part of that object is patented, and the patented part is significant or important. The patented part must be significant or important because it must be shown that it is used when the encompassing unpatented object is used. In Monsanto Canada Inc. v. Schmeiser, it was found that the use of a plant which contained patented genes and cells constitutes infringing use of the patented genes and cells.\n\nPossession\nMonsanto Canada Inc. v. Schmeiser established that possession may be sufficient for infringement if some value is derived from the act of possession. It was found that possession can grant an \"insurance value\" to the possessor. Examples include emergency equipment or backups in case of failure. Monsanto also found that the defendant's use of a genetically modified crop was infringing even though the defendant did not use the genetic benefit (a resistance to a pesticide) - it was sufficient to show that the defendant had a benefit in case it became necessary to take advantage of the benefit. The benefit received by the defendant in cases of possession correspond to a deprivation of the patent holder's full enjoyment of the monopoly and is thus an infringement of the patent.\n\nIn general, a defendant's intention is not relevant in establishing an infringement; however, intent does become important when infringement is alleged through possession. There must be an intent to use the patented article for there to be a corresponding detriment to the patent holder and thus an infringement. Possession creates a presumption of intention to use; the burden is on the defendant to rebut this presumption.\n\nOutput from a patented process or product\nA patent holder's rights extend to articles that were manufactured in a manner that infringed the patent. This protection extends to use of patented processes or products including intermediaries. The court in Pfizer Canada Inc. v. Canada (Health), found that a finding of infringement should be based on the nature of the invention and the extent to which it was used in production. The court outlined the following factors in determining whether there is an infringement:\n\nThe importance of the product or process to the final product sold into Canada. Where the use is incidental, non-essential or could readily be substituted..., a Court might be less inclined to find infringement.\nWhether the final product actually contains all or part of the patented product. Where the patented product can actually be identified in the product sold into Canada, there may be a strong case for a finding of infringement.\nThe stage at which the patented product or process is used. For example, use of a process as a preliminary step of a lengthy production process may lead to a conclusion that the patentee has suffered little deprivation.\nThe number of instances of use made of the patented product or process. Where the same patented product is used repetitively through the production of the non-patented end product, there may be clearer evidence that the advantage of the patentee has been impaired.\nThe strength of the evidence demonstrating that, if carried out or used in Canada, the product or process would constitute infringement. On this point, my opinion would be that, where there is ambiguity in the evidence, the benefit of the doubt should go to the party using the product or process. This is, perhaps, simply another way of expressing the established principle that the patentee bears the burden of proving infringement.\n\nThe court concludes that a \"strong link\" must be \"established between the use of the patented process or product and the product sold into Canada.\"\n\nInducement or contributory infringement\nIt is a patent infringement to induce someone else to infringe a patent. A patent can be a composition of unpatented components; the patent would cover the inventive step of selecting and assembling those components. Manufacture of the unpatented components would not be an infringement of the patent unless the manufacturer induces the recipient of those components to infringe the patent.\n\nWindsurfing International Inc. v. Trilantic Corp. dealt with a manufacturer selling the unassembled components of a patented sailboard. In the court's decision, Urie J stated:\nWithout assembly there can be no purpose in a purchaser buying the unassembled parts since, unassembled, they cannot be used for the purpose for which they are purchased, that is, to sail. To suggest that a patent infringement suit can be successfully avoided by selling parts as components of a kit in contradistinction to their sale assembled is, in my view, errant nonsense.\n\nIn MacLennan v. Produits Gilbert Inc., the court established a three-pronged test to determine whether there has been an inducement:\n\nThere must be an act of infringement by the direct infringer.\nThis act must be influenced by the seller to the point where, without this influence, infringement by the buyer would not otherwise take place.\nThe influence must be knowingly exercised by the seller, i.e., the seller knows that this influence will result in the completion of the act of infringement.\n\nUnlike in America and Britain, it is not an infringement to produce or sell an unpatented replacement part, even if the only possible use for that replacement part is in a patented invention. To establish indirect infringement, it must be shown that the alleged inducer knowingly exercised influence that he or she knew would result in direct infringement.\n\nIn MacLennan v. Produits Gilbert Inc., the manufacturer of replacement parts was found to have knowingly induced patent infringement by indicating its intended use in its competitor's product when selling the components.\n\nStanding: Right to Sue\nSubsection 55(1) of the Patent Act provides standing to the patentee and any person \"claiming under\" the patentee to sue for damages:\n\nThe question of who qualifies as a person \"claiming under\" a patentee has been analyzed numerous times by Canadian courts. In particular, the Supreme Court of Canada has confirmed that a non-exclusive licensee may sue for patent infringement.\n\nIn another leading case, the Federal Court of Appeal broadened the pool of persons \"claiming under\" the patentee:\n\n[...] a person “claiming under” the patentee is a person who derives his rights to use the patented invention, at whatever degree, from the patentee. The right to use an invention is one the monopoly to which is conferred by a patent. When a breach of that right is asserted by a person who can trace his title in a direct line back to the patentee, that person is “claiming under” the patentee. It matters not by what\ntechnical means the acquisition of the right to use may have taken place. It may be a straightforward assignment or a licence. It may, as I have indicated, be a sale of an article embodying the invention. It may also be a lease thereof. What matters is that the claimant asserts a right in the monopoly and that the source of that right may be\ntraced back to the patentee. [...]\n\nSignificant Canadian patent cases\n \n \n \n Pfizer Canada Inc. v. Canada (Health), 2007 FC 898 (5 October 2007)\n\nSee also\n Patent infringement\n Defences, remedies in Canadian patent law\n\nReferences\n\nCanadian patent law\nCanadian intellectual property law"
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[
"Orrin Hatch",
"Intellectual property",
"Has HAtch introduced legislation about intellectual property?",
"Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in",
"What does the Copyright Term Extension Act do?",
"intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators.",
"In what way does this act protect copyright holders?",
"owners should be able to destroy the computer equipment and information of those suspected of copyright infringement,",
"Would this be permitted even if infringement has not been proven?",
"he stated that \"This may be the only way you can teach somebody about copyrights.\" In the face of criticism,"
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C_5e15fa53c20c407a90a91f3dbb34f823_1
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Who does the bill say should crry out this enforcement?
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Who does the Copyright Term Extension Act say should carry out the copyright enforcement?
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Orrin Hatch
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Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in 1997. Hatch believes intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators. Hatch caused an overnight controversy on June 17, 2003 by proposing that copyright owners should be able to destroy the computer equipment and information of those suspected of copyright infringement, including file sharing, he stated that "This may be the only way you can teach somebody about copyrights." In the face of criticism, especially from technology and privacy advocates, Hatch withdrew his suggestion days later, after it was discovered that Sen. Hatch's official website was using an unlicensed JavaScript menu from United Kingdom-based software developer Milonic Solutions. Milonic founder Andy Woolley stated that "We've had no contact with them. They are in breach of our licensing terms." Shortly after the publication of that story in Wired magazine, the company that runs Hatch's website contacted Milonic to start registration. One year later, he proposed the controversial INDUCE Act that attempted to make illegal all tools that could be used for copyright infringement if said tools were intentionally used for illegal copyright infringement. On September 20, 2010, Hatch once again attempted to outlaw websites which could be used for trademark and copyright infringement through the Combating Online Infringement and Counterfeits Act (COICA). This bill would authorize the United States Department of Justice to blacklist and censor all websites that the department deemed to be dedicated to "infringing activities". CANNOTANSWER
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illegal all tools that could be used for copyright infringement if said tools were intentionally used for illegal copyright infringement.
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Orrin Grant Hatch (born March 22, 1934) is an American attorney, retired politician, and composer who served as a United States Senator from Utah for 42 years (1977–2019). He is the longest-serving Republican U.S. Senator in history and the longest-serving U.S. Senator from Utah.
Hatch chaired the Senate Committee on Health, Education, Labor, and Pensions from 1981 to 1987. He also served as chair of the Senate Judiciary Committee from 1995 to 2001 and 2003 to 2005. On January 3, 2015, after the 114th United States Congress was sworn in, Hatch became President pro tempore of the Senate. He served as chairman of the Senate Finance Committee from 2015 to 2019. Hatch led the efforts to pass the Tax Cuts and Jobs Act of 2017. He retired in January 2019 and was succeeded by the 2012 Republican presidential nominee, Mitt Romney.
Early life and education
Orrin Grant Hatch was born and raised in Pittsburgh, Pennsylvania. He is the son of Jesse Hatch (1904–1992), a metal lather, and his wife Helen Frances Hatch (née Kamm; 1906–1995). Hatch had eight brothers and sisters, two of whom did not survive infancy. Hatch was profoundly affected by the loss of his older brother Jesse, a U.S. Army Air Forces nose turret gunner with the 725th Bombardment Squadron who was killed on February 7, 1945, when the B-24 he was aboard was shot down over Austria.
Hatch, who grew up in poverty, was the first in his family to attend college; he attended Brigham Young University and received a B.A. degree in history in 1959. He also fought 11 bouts as an amateur boxer. In 1962, Hatch received a J.D. degree from the University of Pittsburgh School of Law. Hatch has stated that during law school, he and his young family resided in a refurbished chicken coop behind his parents' house. Hatch worked as an attorney in Pittsburgh and moved to Utah in 1969, where he continued to practice law.
Elections
In 1976, in his first run for public office, Hatch was elected to the United States Senate, defeating Democrat Frank Moss, a three-term incumbent. Hatch criticized Moss's 18-year tenure in the Senate, saying, "What do you call a Senator who's served in office for 18 years? You call him home." Hatch ran on the promise of term limits and argued that many Senators, including Moss, had lost touch with their constituents.
In 1982, Hatch won re-election, defeating Mayor of Salt Lake City Ted Wilson by 17 points. He defeated Brian Moss (Frank Moss' son) by 35 points in 1988 and was re-elected in 1994, 2000, 2006, and 2012.
In 2000, Hatch sought the Republican presidential nomination. After finishing last in the Iowa caucuses, Hatch withdrew his candidacy on January 27, 2000, and endorsed eventual winner George W. Bush.
2012 Senate election
After the defeat of Utah's Senator Bob Bennett in 2010, conjecture began as to whether six-term Senator Hatch would retire in 2012. It was also speculated that Congressman Jason Chaffetz would run against Hatch, though Chaffetz would later decline. In January 2011, Hatch announced his campaign for re-election. Later, nine other Republicans, including former State Senator Dan Liljenquist and then-State Legislator Chris Herrod, declared campaigns for U.S. Senator.
Having elected state delegates in mid-March, both the Democratic and Republican parties held conventions on April 21, with the possibilities to determine their nominees for the November general election. At the Republican convention, Hatch failed to get the 60% vote needed to clinch the Republican nomination, so he faced Liljenquist (the second-place winner) in the primary June 26. Hatch won the primary easily. It was Hatch's first primary competition since his election in 1976. The Democratic convention chose former state Senator and IBM executive Scott Howell as the Democratic Party candidate. Hatch defeated Howell, receiving 65.2% of the vote to Howell's 30.2%.
2016 presidential endorsements
In the 2016 presidential election, Hatch originally supported former Florida Governor Jeb Bush and later endorsed Florida Senator Marco Rubio once Bush ended his campaign. On May 12, 2016, after Donald Trump became the presumptive Republican presidential nominee, Hatch endorsed him. On May 27, 2016, after Trump suggested that a federal judge Gonzalo P. Curiel was biased against Trump because of his Mexican heritage, Hatch said: "From what I know about Trump, he's not a racist but he does make a lot of outrageous statements...I think you can criticize a judge but it ought to be done in a formal way" and said that Trump's statements were not so inappropriate that he would rescind his support. On October 7, 2016, following the Donald Trump Access Hollywood controversy, Hatch described Trump's comments as "offensive and disgusting" and said that "[there] is no excuse for such degrading behavior. All women deserve to be treated with respect." Hatch maintained his endorsement of Trump's candidacy.
U.S. Senate tenure
Hatch took office as a U.S. senator on January 3, 1977. He chaired the Senate Committee on Health, Education, Labor, and Pensions from 1981 to 1987. He also served as chair of the Senate Judiciary Committee and the Senate Finance Committee.
In September 1989, Hatch was one of nine Republican senators appointed by Senate Republican Leader Robert Dole to negotiate a dispute with Democrats over the financing of President Bush's anti-drug plan that called for spending $7.8 billion by the following year as part of the president's efforts to address narcotics nationwide and abroad.
Hatch expressed interest in serving on the United States Supreme Court. It was reported that he was on Ronald Reagan's short list of candidates to succeed Lewis F. Powell Jr. on the Supreme Court, but was passed over at least in part because of the Ineligibility Clause. Despite that, he vocally supported Robert Bork, who was chosen instead.
Hatch "worked across the aisle to pass landmark legislation, including the Americans with Disabilities Act and the Children's Health Insurance Program". During the 1991 confirmation hearings regarding the Supreme Court nomination of Clarence Thomas, Hatch "famously defended Thomas...by reading aloud from 'The Exorcist' to suggest Anita Hill lifted details of her sexual harassment allegations from the horror book".
On January 3, 2015, after the 114th United States Congress was sworn in, Hatch became President pro tempore of the Senate.
Hatch was absent from the 2017 Inauguration Day festivities. At the request of President-elect Donald Trump, he agreed to serve as designated survivor during the inauguration and was kept at a secure, undisclosed location.
On December 25, 2017, the Salt Lake Tribune published an editorial entitled "Why Orrin Hatch is Utahn of the Year." The newspaper described its criteria for the designation as "Utahn of the Year" as "the Utahn who, over the past 12 months, has done the most. Has made the most news. Has had the biggest impact. For good or for ill." The editorial criticized Hatch for his role in the size reduction of the Grand Staircase-Escalante National Monument and the passage of the Tax Cuts and Jobs Act of 2017 and accused him of lacking integrity.
Hatch announced on January 2, 2018, that he would retire from the Senate instead of seeking re-election that November. Hatch retired from the Senate on January 3, 2019, having served there for 42 years. At the time of his retirement announcement, he was the longest-serving U.S. Senator in Utah history (having eclipsed previous record-holder Reed Smoot in 2007), the longest-serving Republican U.S. Senator in the history of Congress, and also one of the longest-serving Republican members of Congress in the history of the United States. Hatch surpassed fellow senators Ted Stevens and Strom Thurmond, who joined the Republican Party in 1964, and was later surpassed by Chuck Grassley and Don Young.
Political positions and votes
Abortion
Hatch was strongly opposed to abortion and was the author of the Hatch Amendment to the Constitution, which stated that there is no constitutional right to abortion and empowered the states to restrict abortion as they saw fit.
Anti-terrorism
In 1995, Hatch was the leading figure behind the senate's anti-terrorism bill, to a large extent a response to the Oklahoma City Bombing. Elements of the bill were criticised by the Anti-Defamation League and American Jewish Committee on civil liberties grounds, especially the new limits imposed on habeas corpus in capital cases.
As a senior member of the Senate Select Intelligence Committee, Hatch was also instrumental in the 2008 extension of the Foreign Intelligence Surveillance Act. He said, "This bipartisan bill will help defeat terrorism and keep America safe. No, the legislation is not perfect, but it ensures that the increased expansion of the judiciary into foreign intelligence gathering doesn't unnecessarily hamper our intelligence community."
Bailouts
Hatch voted in favor of the 2008 legislation that established the Troubled Asset Relief Program (TARP). In 2011, Hatch said that he "probably made a mistake voting for it", and also claimed "at the time, we were in real trouble and it looked like we were ready for a depression. I believe we would have gone into a depression."
He voted against the renewal of TARP in 2009, and the renewal was voted down by 10 votes in the Senate.
Hatch voted in favor of the Housing and Economic Recovery Act of 2008. The bill authorized $300 billion to guarantee mortgages and restore confidence in Fannie Mae and Freddie Mac.
Balanced budget amendment
Hatch has been a longtime advocate of amending the United States Constitution to require that total spending of the federal government for any fiscal year not exceed total receipts.
During his time in the Senate, Hatch has sponsored a balanced budget amendment 17 times—4 times as lead sponsor and 13 times as a co-sponsor. He also voted in favor of passing a Balanced Budget Amendment on at least 9 occasions. Hatch's proposed amendment passed the House of Representatives in 1997, but failed to pass the Senate by the required two-thirds majority by one vote to move on the states for ratification.
Bank of Credit and Commerce International
In January 1990, the federal judge in a case against the Bank of Credit and Commerce International (BCCI) accepted a 1989 plea bargain offered to the bank by the U.S. Department of Justice. The bank was to pay $15 million in fines and only admit that it had laundered drug money. Afterward, Hatch presented an impassioned defense of the bank in a speech on the Senate floor. It had been largely written for him by the bank's attorney Robert Altman. Hatch said, "The case arose from the conduct of a small number of B.C.C.I.'s more than 14,000 employees." Since 1989, Hatch and his aide, Michael Pillsbury, had been involved in efforts to counter the negative publicity that surrounded the bank. Hatch had also solicited the bank to approve a $10 million loan to a close friend, Monzer Hourani. In 1991, B.C.C.I. was shut down after regulators accused it of one of the biggest international financial frauds in history. Law enforcement officials accused the bank of making bribes throughout the third world to arrange government deposits. Clark Clifford, a former presidential advisor and Defense Secretary, and Altman, his law partner, were charged with taking bribes from B.C.C.I., in exchange for concealing its illegal ownership of First American Bankshares, a Washington holding company which Clifford chaired. Both had denied the charges, which were filed in New York State and Federal courts. In 1992, in a "Report to the Committee on Foreign Relations of the United States Senate," prepared by committee members, U.S. Senators John Kerry (D-MA) and Hank Brown (R-CO), noted that a key strategy of "BCCI's successful secret acquisitions of U.S. banks in the face of regulatory suspicion was its aggressive use of a series of prominent Americans," Clifford amongst them. The relationship with Hourani included the receipt of campaign contributions laundered through his employees, for which Hourani was fined $10,000, as well as his purchase of 1,200 CDs of Hatch's songs, for which Hatch received $3 to $7 each, and the management of a blind trust for Hatch. These led to a Senate Ethics Committee investigation, by which Hatch was eventually cleared.
Energy
As chairman of the Senate Finance Committee, Hatch has investigated the use of what are known as Section 1603 grants and tax credits. The Section 1603 program was created in President Barack Obama's 2009 stimulus package with the intention of subsidizing green energy production. Since 2009, the federal government has given out $25 billion in cash grants on behalf of the program. Hatch has investigated the program on several occasions. On June 9, 2016, his office requested from Department of Treasury, the Internal Revenue Service (IRS) and the Treasury Inspector General for Tax Administration (TIGTA) details about how companies use the program. In March 2016, Hatch asked the IRS and Treasury Department to demonstrate that the agencies use safeguards and coordinate with each other when reviewing applications for Section 1603 grants. Per his June letter to Treasury Secretary Jack Lew, the agencies have cooperated with Hatch's investigation.
Health care reform
Hatch opposed President Barack Obama's health reform legislation; he voted against the Affordable Care Act in December 2009, and he voted against the Health Care and Education Reconciliation Act of 2010.
Hatch has argued that the insurance mandate found in the legislation is not in the category that can be covered by the interstate commerce clause since it regulates the decision to engage in commercial activity rather than regulating the activity itself. He therefore regards the Act as unconstitutional. NPR called Hatch a "flip-flopper" on this issue since in 1993 Hatch co-sponsored a bill along with 19 other Senate Republicans that included an individual insurance mandate as a means to combat healthcare legislation proposed by Hillary Clinton. In 2018, Hatch said that Obamacare supporters were "the stupidest, dumbass people I've ever met".
Hatch was one of the first Senators to suggest that the individual mandate was unconstitutional and promised to work on dismantling it when he becomes the Finance Committee Chairman. Hatch was part of the group of 13 Senators drafting the Senate version of the AHCA behind closed doors.
In 2003, Hatch supported the Medicare prescription drug benefit plan known as Medicare Part D. Responding to criticism of the legislation during the 2009 debate on health care reform, Hatch said that in 2003 "it was standard practice not to pay for things" and that although there was concern at the time about increasing the deficit, supporting the bill was justified because it "has done a lot of good".
On March 25, 2014, Hatch cosponsored the Emergency Medical Services for Children Reauthorization Act of 2014 in the Senate. The bill that would amend the Public Health Service Act to reauthorize the Emergency Medical Services for Children Program through FY2019. The bill would authorize appropriations of about $20 million in 2015 and $101 million over the 2015–2019 period. Hatch argued that "children require specialized medical care, and that specialized care comes with unique challenges. The EMSC program helps ensure that some of our country's most vulnerable have access to the care they need, and I've been proud to support it all these years."
Immigration
Hatch was one of the architects and advocates of the expansion of H-1B visas and has generally been an advocate of tougher enforcement immigration policy including voting for 1,500 new law enforcement agents to patrol the border. His 2010 Immigration Bill titled Strengthening Our Commitment to Legal Immigration and America's Security Act has received the support of the Center for Immigration Studies (CIS). He also proposed the DREAM Act, which would provide a pathway to citizenship for the children of undocumented immigrants, who were children when their parents came to the United States.
Hatch critiqued President Donald Trump's 2017 executive order to temporarily suspend immigration from seven Muslim countries until better screening methods are devised. He reflected on his own family's immigration history and described the order as placing "unnecessary burdens" on families.
Judicial nominations
As ranking minority member of the Senate Judiciary Committee, Hatch fought hard to get conservative judges nominated to the Supreme Court. He took a leading role in the Senate confirmation hearings of Clarence Thomas in October 1991. He was also a strong supporter of Jay Bybee during Bybee's confirmation hearings for a seat on the United States Court of Appeals for the Ninth Circuit, stating "I've seen a lot of people around and a lot of judges and I don't know of anybody who has any greater qualifications or any greater ability in the law than you have."
Nevertheless, in 1993, Hatch recommended Ruth Bader Ginsburg, whom he knew personally, to President Bill Clinton to fill a vacancy on the U.S. Supreme Court, even as he knew she was a political liberal. Clinton had not previously considered Ginsburg, and Hatch, as ranking member of the Senate Judiciary Committee, assured him that a Ginsburg confirmation would go smoothly.
With regards to the Senate filibuster being used to stall President Barack Obama's judicial appointments, Hatch voted against the November 2013 reforms, which eliminated the use of the filibuster on executive branch nominees and judicial nominees other than to the Supreme Court. In September 2014, Hatch argued that the filibuster should be restored, saying: "We should get it back to where it was. You can see the destruction that has happened around here." However, in November 2014, after the Republicans retook control of the Senate following the 2014 elections, Hatch wrote in The Wall Street Journal that "if Republicans re-establish the judicial-nomination filibuster, it would remain in place only until the moment that a new Democratic majority decided that discarding the rule again would be useful" and called for "the next Republican president to counteract President Obama's aggressive efforts to stack the federal courts in favor of his party's ideological agenda" by nominating conservative judges.
As an opponent of the confirmation of Merrick Garland, Hatch submitted to the Deseret News an opinion piece stating that, after meeting with Garland, his opinion on blocking Garland had not changed; the piece was published prior to Hatch's meeting with Garland. On March 13, 2016, regarding the nomination of Supreme court candidates by Obama, Hatch stated "a number of factors have led me to conclude that under current circumstances the Senate should defer the confirmation process until the next president is sworn in".
Intellectual property
Hatch has long been a proponent of expanding intellectual property rights, and introduced the Senate version of the Copyright Term Extension Act in 1997. Hatch believes intellectual property laws should, in general, more closely mirror real property laws, and offer greater protections to authors and creators.
Hatch caused an overnight controversy on June 17, 2003, by proposing that copyright owners should be able to destroy the computer equipment and information of those suspected of copyright infringement, including file sharing, he stated that "This may be the only way you can teach somebody about copyrights." In the face of criticism, especially from technology and privacy advocates, Hatch withdrew his suggestion days later, after it was discovered that Sen. Hatch's official website was using an unlicensed JavaScript menu from United Kingdom-based software developer Milonic Solutions. Milonic founder Andy Woolley stated that "We've had no contact with them. They are in breach of our licensing terms." Shortly after the publication of that story in Wired magazine, the company that runs Hatch's website contacted Milonic to start registration.
On September 20, 2010, Hatch once again attempted to outlaw websites which could be used for trademark and copyright infringement through the Combating Online Infringement and Counterfeits Act (COICA). This bill would authorize the United States Department of Justice to blacklist and censor all websites that the department deemed to be dedicated to "infringing activities".
LGBT rights
The Salt Lake Tribune reported that in 1977, Hatch told students from the University of Utah, "I wouldn't want to see homosexuals teaching school anymore than I'd want to see members of the American Nazi Party teaching school." Hatch supported the Defense of Marriage Act in 1996.
In 2012, Hatch recommended and supported District Court Judge Robert Shelby, a Barack Obama appointee, though Utah Senator Mike Lee, voted against him in the Judiciary Committee. In 2013 Shelby overturned Utah's ballot Amendment 3, which constitutionally defined marriage as between a man and a woman.
In April 2013, Hatch stated that he viewed same-sex marriage as "undermining the very basis of marital law", but declined to support a Federal Marriage Amendment and endorsed same-sex couples' right to form a civil union, stating that the law should "give gay people the same rights as married people". Later that same year, Hatch voted in favor of the Employment Non-Discrimination Act, legislation creating protected classes for those identifying as gay, lesbian, bisexual or transgender. In 2018, Hatch "honored Pride" by giving a speech in support of programs to help and serve LGBT youth.
Nuclear testing
During Hatch's first year in the Senate in 1977, reporter Gordon Eliot White of the Deseret News published the first of what would be a lengthy series of articles detailing government malfeasance in atmospheric testing of nuclear bombs at the Nevada Test Site. Over the next 13 years White's articles detailed how the government determined to proceed with the tests, and with mining and refining, without adequate safeguards for innocent citizens whose health would be damaged. Though Hatch feared an investigation would endanger the nation's nuclear deterrence versus the Soviet Union and the People's Republic of China, by 1979 he was pushing for hearings on the issue before the Senate Labor Committee. Hatch prevailed on Committee Chairman Ted Kennedy to hold field hearings in Utah in 1980. At the end of 1980, Hatch was positioned to chair the committee himself.
By 1984, Hatch had held a dozen hearings, passed legislation requiring scientific investigation of the injuries and had enlisted the aid of the National Science Foundation and National Cancer Institute, but still could not muster the votes to get a bill. When a vote was obtained in the Senate in 1985 (as an amendment to a bill to compensate Pacific Islanders for nuclear tests in the 1950s), it failed by a handful of votes. Hatch discovered a clause in the proposed Treaty of Peace and Friendship with Kiribati and Tuvalu to pay at least $100 million to residents of the Marshall Islands for injuries similar to those of Utahns, and Hatch took the treaty hostage. His hold on consideration of the treaty eventually got agreement from the Reagan administration to agree not to oppose radiation compensation for Utah citizens, but it still took another five years to get the bill through. The Radiation Exposure Compensation Act of 1990 provided compensation for citizens injured by radioactive fallout from the tests.
In December 2010, Hatch was one of twenty-six senators who voted against the ratification of New Start, a nuclear arms reduction treaty between the United States and Russian Federation obliging both countries to have no more than 1,550 strategic warheads as well as 700 launchers deployed during the next seven years along with providing a continuation of on-site inspections that halted when START I expired the previous year. It was the first arms treaty with Russia in eight years.
Opioid crisis
Hatch introduced the Ensuring Patient Access and Effective Drug Enforcement Act, narrowing the broad authority of the DEA to suspend drug "manufacturers, distributors, and dispensers". Hatch stated the bill was also written to protect patients from disruptions in the production and delivery of their prescription drugs: "The fact that prescription drugs can be abused should not prevent patients from receiving the medications they need. This bill takes a balanced approach to the problem of prescription drug abuse by clarifying penalties for manufacturing or dispensing outside approved procedures while helping to ensure that supply chains to legitimate users remain intact". The bill passed the Senate unanimously and Tom Marino passed a version of the bill in the House and was signed by President Barack Obama.
Critics of the bill claim the new law fuels the opioid crisis by limiting the DEA's ability to halt production and distribution by predatory drug companies. DEA Chief Administrative Law Judge John J. Mulrooney II wrote in the Marquette Law Review: "At a time when, by all accounts, opioid abuse, addiction and deaths were increasing markedly, this new law imposed a dramatic diminution of the agency's authority. It is now all but logically impossible for the DEA to suspend a drug company's operations for failing to comply with federal law." Donald Trump's Attorney General Jeff Sessions said he was "dubious" about the law when it passed and joined 44 state attorneys general calling for "repeal or amendment of the law to restore some of the DEA's authority." Jim Geldhof, a former DEA program manager whom spent 43 years with the DEA called the bill "outrageous. It basically takes any kind of action DEA was going to do with a distributor or manufacturer as far as an immediate suspension off the table. And then the other part of that really infuriates me is that corrective action plan." Mulrooney compared the corrective action plan to one that would "allow bank robbers to round up and return inkstained money and agree not to rob any more banks — all before any of those wrongdoers actually admit fault and without any consequence that might deter such behavior in the future."
Hatch responded to a Washington Post and 60 Minutes investigation into the bill by writing a Washington Post opinion article calling the investigation "misleading" and asking to "leave conspiracy theories to Netflix". Senator Sheldon Whitehouse, a co-sponsor of the senate bill, also defended the bill: "This bill was drafted in consultation with the DEA to offer better guidance for companies working to safely and responsibly supply prescription drugs to pharmacies, and to promote better communication and certainty between companies and regulators." Republican Pat Toomey expressed doubts that a conspiracy existed, but still suggested amending the bill: "I'm a little surprised that it passed unanimously in both houses, was signed by President Obama and got no opposition from the DEA at the time. That's not the way controversial legislation usually ends up, but hey, if there's problems, then we ought to revisit them."
Hatch received $177,000 in donations from the drug industry while pushing the bill through and has received $2,178,863 from the Pharmaceuticals/Health Products industry from 1989 to 2014 according to required filings by the Federal Election Commission.
Privacy
In 2017, Hatch voted to prevent online and telecommunication privacy protections from taking effect.
Religious freedom
Hatch was the main author of the Religious Land Use and Institutionalized Persons Act, which protected all religions' right to build church facilities on private property. In 2010, Hatch defended the right of a private organization to build a mosque on private property in downtown Manhattan, citing this law and defense of the freedom of religion.
Presidential Medal of Freedom
On November 16, 2018, President Donald Trump awarded Hatch with the highest civilian honor, the Presidential Medal of Freedom.
Other issues
In 1980, Hatch spoke in favor of rolling back provisions of the Fair Housing Act enforced by the Office of Fair Housing and Equal Opportunity. Acting on his motion in 1988, Congress eventually voted to weaken the ability of plaintiffs to prosecute cases of discriminatory treatment in housing. At the time the 1988 Fair Housing Amendments were being debated, he introduced a bill endorsed by the National Association of Realtors to severely limit who can file anti-discrimination suits and to make the proceedings a private affair.
In 1999, Hatch called for a federal probe into manufacturers of violent video games, and proposed making the existing voluntary rating system for video games (ESRB) mandatory by federal law.
Hatch pushed legislation for the Equal Opportunity to Govern Amendment, which would amend Article 2, Section I, Clause 5 of the United States Constitution. This amendment would allow anyone who has been a U.S. citizen for twenty years to seek the presidency or vice-presidency.
A vocal supporter of stem cell research, Hatch was one of 58 senators who signed a letter directed to President George W. Bush, requesting the relaxing of federal restrictions on embryonic stem cell research. In 2010, Hatch's bill was reauthorized which allowed stem cells from umbilical cords to be used to find treatment options.
In 2011, Hatch was criticized for comments he made suggesting that the rich have an unfair financial burden in the current tax system.
In June 2013, Hatch commented on a G8 proposal that tax authorities in the world's largest economies openly share information among themselves in order to fight tax evasion. The proposal has strong suggestions about ways to make companies more transparent and governments more accountable for their tax policies. Hatch stated that transparency is always a good thing, but he would like to see a bill before giving any support.
In 2017, Hatch was one of 22 senators to sign a letter to President Donald Trump urging the President to have the United States withdraw from the Paris Agreement. According to the Center for Responsive Politics, Hatch has received over $470,000 from oil, gas and coal interests since 2012.
In 2018, over the Judge Kavanaugh Supreme Court controversy, Hatch said that it did not matter even if Kavanaugh did what his accusers alleged was true. Hatch said, "If that was true, I think it would be hard for senators to not consider who the judge is today. That's the issue. Is this judge a really good man? And he is. And by any measure he is.”
Hatch voted for the impeachment of President Bill Clinton in 1999, saying "committing crimes of moral turpitude such as perjury and obstruction of justice go to the heart of qualification for public office... This great nation can tolerate a president who makes mistakes. But it cannot tolerate one who makes a mistake and then breaks the law to cover it up. Any other citizen would be prosecuted for these crimes." In 2018, in the wake of court filings that implicated President Trump in campaign finance violations and in attempting to buy the silence of women who alleged affairs with Trump, Hatch said, "I don't care, all I can say is he's doing a good job as president."
In April 2018, Hatch was one of eight Republican senators to sign a letter to United States Secretary of the Treasury Steve Mnuchin and acting Secretary of State John Sullivan expressing "deep concern" over a report by the United Nations exposing "North Korean sanctions evasion involving Russia and China" and asserting that the findings "demonstrate an elaborate and alarming military-venture between rogue, tyrannical states to avoid United States and international sanctions and inflict terror and death upon thousands of innocent people" while calling it "imperative that the United States provides a swift and appropriate response to the continued use of chemical weapons used by President Assad and his forces, and works to address the shortcomings in sanctions enforcement."
Committee assignments
Committee on Finance (Chairman)
As Chairman of the full committee, Hatch may serve as an ex officio member of all subcommittees of which he is not already a full member.
Subcommittee on International Trade, Customs, and Global Competitiveness
Subcommittee on Social Security, Pensions and Family Policy
Committee on the Judiciary
Subcommittee on Antitrust, Competition Policy and Consumer Rights
Subcommittee on Crime and Drugs
Subcommittee on Terrorism, Technology and Homeland Security
Committee on Health, Education, Labor, and Pensions
Subcommittee on Children and Families
Subcommittee on Employment and Workplace Safety
Special Committee on Aging
Joint Committee on Taxation
Impeachment Trial Committee on the Articles against Judge G. Thomas Porteous, Jr. (Vice Chair)
Caucus memberships
Afterschool Caucuses
Judd Gregg's 2011 retirement created a domino effect among high-profile Senate Republicans: Jeff Sessions took his spot as Ranking Republican on the Senate Budget Committee; Chuck Grassley in turn took his spot on the Senate Judiciary Committee, and Hatch took the top Republican spot on the Senate Finance Committee.
Lobbying ties
Hatch's son Scott Hatch was formerly a partner and registered lobbyist at Walker, Martin & Hatch LLC, a Washington lobbying firm. The firm was formed in 2001 with Jack Martin, a staff aide to Hatch for six years, and H. Laird Walker, described as a close associate of the senator. In March 2003, the Los Angeles Times reported that the firm was formed with Hatch's personal encouragement and that he saw no conflict of interest in working on issues that involved his son's clients. In 2009, the Washington Times reported that Hatch said "My son, Scott, does not lobby me or anyone in my office".
In March 2009, the Washington Times reported that the pharmaceutical industry, which has benefited from Hatch's legislative efforts, had previously unreported connections to Hatch. In 2007, five pharmaceutical companies and the industry's main trade association, Pharmaceutical Research and Manufacturers of America (PhRMA), donated $172,500 to the Utah Families Foundation—a charitable foundation which Hatch helped start in the 1990s and has continued to support since. Walker, Martin & Hatch LLC was paid $120,000 by PhRMA in 2007 to lobby Congress on pending U.S. Food and Drug Administration legislation.
Electoral history
Personal life
Hatch married Elaine Hansen on August 28, 1957. They have six children.
Hatch is a member of The Church of Jesus Christ of Latter-day Saints (LDS Church). Although he was born in Pennsylvania, his parents had been raised in Utah and he had ancestors who were members of the LDS Church in Nauvoo, Illinois. Hatch served as an LDS missionary in what was called the "Great Lakes States Mission" essentially covering large parts of Indiana, Michigan and Ohio. Hatch has since served in various positions in the LDS Church, including as a bishop.
Hatch is a founder and co-chair of the Federalist Society, an organization of conservative lawyers.
Hatch serves as a member of the board of directors of the United States Holocaust Memorial Museum. In a 1996 interview on 60 Minutes, Hatch claimed to wear a mezuzah necklace in order to remind himself that another holocaust should never be allowed to occur.
Despite their political differences, Hatch was a longtime friend of fellow senator Ted Kennedy, speaking at his memorial service and publicly suggesting Kennedy's widow as a replacement for Kennedy in the Senate.
Musical career and film appearances
Hatch plays the piano, violin and organ. Fueled by his interest in poetry, Hatch has written songs for many. He co-authored "Everything And More," sung by Billy Gilman. In addition to his job as a United States Senator, Hatch has earned over $10,000 as an LDS music recording artist.
Hatch wrote the lyrics for and participated in the recording of "Eight Days of Hanukkah" in 2009. The song's music was composed by Madeline Stone.
Hatch also has a history in arts management. In the early 1970s he was the band manager for a Mormon-themed folk group called the Free Agency. The Free Agency was made up of members of an earlier Mormon group called the Sons of Mosiah, that was formed when guitarist David Zandonatti and vocalist Ron McNeeley relocated to Utah after their San Francisco based psychedelic group Tripsichord Music Box disbanded in 1971. The group also included Lynn Bryson and Alan Cherry.
Rock musician Frank Zappa composed a guitar instrumental entitled "Orrin Hatch On Skis," which appears on his 1988 album, Guitar.
In March 1997, Orrin Hatch and Janice Kapp Perry jointly recorded an album of music with Tree Music entitled "My God Is Love". Later albums with Perry included "Come to the Manger".
Hatch and Janice Kapp Perry co-wrote the song "Heal Our Land", which was performed at George W. Bush's January 2005 inauguration.
Hatch appeared as himself, alongside Chuck Grassley, in Steven Soderbergh's Oscar-winning drama Traffic, in a brief cameo in a scene set during a Washington D.C. cocktail party. Soderbergh later featured one of Hatch's songs, Souls Along The Way, in his film Ocean's 12 as background music for a scene in Hatch's home state Utah.
Hatch's likeness was featured in the 30 Rock episode "Jack Gets in the Game" as one of Dr. Leo Spaceman's famous clients.
In 2009, at the request of The Atlantic correspondent Jeffrey Goldberg, Hatch authored the lyrics to "Eight Days of Hanukkah", described by Goldberg as "a hip hop Hannukah song written by the senior senator from Utah."
Hatch appeared in a scene in the Parks and Recreation episode "Ms. Ludgate-Dwyer Goes to Washington" alongside Cory Booker.
Hatch along with Lowell Alexander and Phil Naish composed the song, "Blades Of Grass And Pure White Stones".
Writing
Orrin Hatch, The Equal Rights Amendment: Myths and Realities, Savant Press (1983)
Orrin Hatch, Higher Laws: Understanding the Doctrines of Christ , Shadow Mountain (June 1995)
Orrin Hatch, Square Peg: Confessions of a Citizen Senator, Basic Books (October 15, 2002)
Hatch's autobiography describes the challenges of balancing home and professional life as a Senator, and recounts anecdotes from his campaign experience and some of his higher-profile assignments in the Senate, such as the Confirmation Hearings of Robert Bork and Clarence Thomas.
Orrin Hatch, Orrin Hatch, the L.D.S. Mormon Politician as Songwriter, text of an interview of Orrin Hatch by Phillip K. Bimstein, in Washington, D.C., August 14, 2003, transcribed by Jonathan Murphy, New York City, American Music Center, 2003, without ISBN.
Hatch also is the author of several law review articles.
Honors
Hatch has been awarded the following:
Commander of the Order of the Star of Romania, Romania (June 8, 2017)
Order of Duke Branimir, Republic of Croatia (October 29, 2018)
Presidential Medal of Freedom (November 16, 2018)
Secretary of the Air Force Distinguished Public Service Award (December 11, 2018)
See also
Hatch-Waxman Act
Internet Community Ports Act
Pirate Act
References
External links
Collected news and commentary at The Salt Lake Tribune
Profile at SourceWatch
Orrin Hatch papers, 1861
Orrin Hatch papers, MSS 6057 at L. Tom Perry Special Collections, Brigham Young University
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1934 births
Candidates in the 2000 United States presidential election
20th-century American politicians
20th-century Mormon missionaries
21st-century American politicians
American Latter Day Saint hymnwriters
American leaders of The Church of Jesus Christ of Latter-day Saints
American Mormon missionaries in the United States
American performers of Christian music
Brigham Young University alumni
Information Technology and Innovation Foundation
Latter Day Saints from Pennsylvania
Latter Day Saints from Utah
Living people
Mitt Romney
Pennsylvania lawyers
Politicians from Pittsburgh
Presidential Medal of Freedom recipients
Presidents pro tempore of the United States Senate
Commanders of the Order of the Star of Romania
Republican Party United States senators
United States senators from Utah
University of Pittsburgh School of Law alumni
Utah lawyers
Utah Republicans
Writers from Utah
Federalist Society members
American composers
Conservatism in the United States
| false |
[
"The Cyberspace Electronic Security Act of 1999 (CESA) is a bill proposed by the Clinton administration during the 106th United States Congress that enables the government to harvest keys used in encryption. The Cyberspace Electronic Security Act gives law enforcement the ability to gain access to encryption keys and cryptography methods. The initial version of this act enabled federal law enforcement agencies to secretly use monitoring, electronic capturing equipments and other technologies to access and obtain information. These provisions were later stricken from the act, although federal law enforcement agencies still have a significant degree of latitude to conduct investigations relating to electronic information. The act generated discussion about what capabilities should be allowed to law enforcement in the detection of criminal activity. After vocal objections from civil liberties groups, the administration backed away from the controversial bill.\n\nSee also\nComputer security\n\nExternal links\nThe bill at CDT.com\n\nUnited States federal commerce legislation\nEncryption debate",
"The Safe Campus Act () was introduced to the US House of Representatives by Matt Salmon (R-AZ), Pete Sessions (R-TX), and Kay Granger (R-TX) on July 29, 2015. The bill aims to prevent colleges from pursuing internal investigations in cases of campus sexual assault. This restriction would legally require alleged victims of sexual assault to report the crime to the police in order to see justice on campus.\n\nMajor provisions\n\nReporting to law enforcement\nThe Safe Campus Act would require schools to report each allegation of sexual violence to local law enforcement for investigation after obtaining written consent from the alleged victim. Schools would be required to wait for the results of a law enforcement investigation before beginning their own internal disciplinary procedures and would not be allowed to punish the accused in cases where the alleged victim did not consent to a law enforcement investigation. In cases where deemed necessary to protect the safety of the alleged victim, schools would be permitted to impose interim measures such as temporary suspensions, no contact orders, adjustments to class schedules, and changes in housing assignments. These interim measures would be lifted after the completion of the law enforcement investigation if it did not result in an indictment. Alleged victims would have the right to submit a joint request with law enforcement for interim measures if both agreed that they would not protect the safety of the alleged victim, and schools would be required to honor such a request. Students would be protected from being disciplined for violations of school rules that came to light as a result of their reporting of sexual violence.\n\nDue process\nThe Safe Campus Act would require a formal hearing before students could be disciplined for sexual violence. Schools would be required to provide all parties with at least two weeks notice before the hearing. Both the accused and the alleged victim would have the right to an attorney at their own expense, the right to access all evidence, and the right to cross-examination, although such cross-examination would be prohibited from including any questions on the sexual history of the alleged victim. Schools would be required to ensure that those adjudicating allegations do not have conflicts of interest. Students who are found responsible for sexual violence would have the right to judicial review of that decision. Schools would be required to publish their procedures for adjudicating allegations of sexual violence in their student handbooks.\n\nSexual Violence Education \nThe Safe Campus Act requires universities to educate all adult and student staff on sexual assault and reporting. It also encourages but does not require the university to provide sexual assault education to the students. Universities must allocate funds to these programs and for programs to help victims of sexual assault on campus.\n\nCriticism\nThe provision requiring an alleged victim to report an act of sexual violence to law enforcement before the accused student could be punished has generated controversy.\n\nOpponents \nThe bill's opponents point to low reporting rates in cases of sexual assault and insist forced reporting to the police will inhibit even more victims from coming forward as victims of a sexual crime. Opponents also point out that this bill singles out sexual assault crimes, as colleges can still punish students with other accusations, even without a criminal investigation. Some of the most outspoken opponents of this bill are the National Panhellenic Conference and the North American Inter-fraternity Conference.\n\nThe Fair Campus Act \n\nThe Fair Campus Act was introduced shortly after the Safe Campus Act as a response to the criticism of the Safe Campus Act. This bill is very similar but does not require sexual assault victims to report to the police in order for there to be a college investigation, which was the main issue for the opponents of the Safe Campus Act.\n\nSupporters \nSupporters of this bill claim mandatory police reporting will ensure students have access to fair representation during a trial, which may not be the case in a campus hearing, as it does not have criminal implications without the police.\n\nThe Safe Campus Act is supported by the Foundation for Individual Rights in Education and the National District Attorneys Association.\n\nSee also \n Post-assault treatment of sexual assault victims\n\nReferences \n\nProposed legislation of the 114th United States Congress\nSex and the law"
] |
[
"Hereditary peer",
"Ranks and titles"
] |
C_5179aa5bd65c47c3b879d7b789f45b4d_1
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What were some of the ranks?
| 1 |
What were some of the ranks of Hereditary peer?
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Hereditary peer
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The ranks of the Peerage in most of the United Kingdom are, in descending order of rank, duke, marquess, earl, viscount and baron; the female equivalents are duchess, marchioness, countess, viscountess and baroness respectively. In the Scottish peerage, the lowest rank is lordship of Parliament, the male holder thereof being known as a lord of Parliament. A Scottish barony is a feudal rank, and not of the Peerage. The barony by tenure or feudal barony in England and Wales was similar to a Scottish feudal barony, in being hereditary, but is long obsolete, the last full summons of the English feudal barons to military service having occurred in 1327. The Tenures Abolition Act 1660 finally quashed any remaining doubt as to their continued status. Peerage dignities are created by the Sovereign by either writs of summons or letters patent. Under modern constitutional conventions, no peerage dignity, with the possible exception of those given to members of the Royal Family, would be created except upon the advice of the Prime Minister. Many peers hold more than one hereditary title; for example, the same individual may be a duke, an earl, a viscount and a baron by virtue of different peerages. If such a person is entitled to sit in the House of Lords, he still only has one vote. However, until the House of Lords Act 1999 it was possible for one of the peer's subsidiary titles to be passed to his heir before his death by means of a writ of acceleration, in which case the peer and his heir would have one vote each. Where this is not done, the heir may still use one of the father's subsidiary titles as a "courtesy title", but he is not considered a peer. CANNOTANSWER
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in descending order of rank, duke, marquess, earl, viscount and baron;
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The hereditary peers form part of the peerage in the United Kingdom. As of November 2021, there are 809 hereditary peers: 30 dukes (including six royal dukes), 34 marquesses, 191 earls, 111 viscounts, and 443 barons (disregarding subsidiary titles).
Not all hereditary titles are titles of the peerage. For instance, baronets and baronetesses may pass on their titles, but they are not peers. Conversely, the holder of a non-hereditary title may belong to the peerage, as with life peers. Peerages may be created by means of letters patent, but the granting of new hereditary peerages has largely dwindled; only seven hereditary peerages have been created since 1965, four of them for members of the British royal family.
As a result of the Peerage Act 1963 all peers except those in the peerage of Ireland were entitled to sit in the House of Lords, but since the House of Lords Act 1999 came into force only 92 hereditary peers, elected by and from all hereditary peers, are permitted to do so, unless they are also life peers. Peers are called to the House of Lords with a writ of summons.
Origins
The hereditary peerage, as it now exists, combines several different English institutions with analogues from Scotland and Ireland.
English Earls are an Anglo-Saxon institution. Around 1014, England was divided into shires or counties, largely to defend against the Danes; each shire was led by a local great man, called an earl; the same man could be earl of several shires. When the Normans conquered England, they continued to appoint earls, but not for all counties; the administrative head of the county became the sheriff. Earldoms began as offices, with a perquisite of a share of the legal fees in the county; they gradually became honours, with a stipend of £20 a year. Like most feudal offices, earldoms were inherited, but the kings frequently asked earls to resign or exchange earldoms. Usually there were few Earls in England, and they were men of great wealth in the shire from which they held title, or an adjacent one, but it depended on circumstances: during the civil war between Stephen and the Empress Matilda, nine Earls were created in three years.
William the Conqueror and his great-grandson Henry II did not make Dukes; they were themselves only Dukes of Normandy or Aquitaine. But when Edward III of England declared himself King of France, he made his sons Dukes, to distinguish them from other noblemen, much as Royal Dukes are now distinguished from other Dukes. Later Kings created Marquesses and Viscounts to make finer gradations of honour: a rank something more than an Earl and something less than an Earl, respectively.
When Henry III or Edward I wanted money or advice from his subjects, he would order great churchmen, earls, and other great men to come to his Great Council (some of these are now considered the first parliaments); he would generally order lesser men from towns and counties to gather and pick some men to represent them. The English Order of Barons evolved from those men who were individually ordered to attend Parliament, but held no other title; the chosen representatives, on the other hand, became the House of Commons. This order, called a writ, was not originally hereditary, or even a privilege; the recipient had to come to the Great Council at his own expense, vote on taxes on himself and his neighbours, acknowledge that he was the king's tenant-in-chief (which might cost him special taxes), and risk involvement in royal politics – or a request from the king for a personal loan (benevolence). Which men were ordered to Council varied from Council to Council; a man might be so ordered once and never again, or all his life, but his son and heir might never go.
Under Henry VI of England, in the 15th century, just before the Wars of the Roses, attendance at Parliament became more valuable. The first claim of hereditary right to a writ comes from this reign; so does the first patent, or charter declaring a man to be a baron. The five orders began to be called peers. Holders of older peerages also began to receive greater honour than peers of the same rank just created.
If a man held a peerage, his son would succeed to it; if he had no children, his brother would succeed. If he had a single daughter, his son-in-law would inherit the family lands, and usually the same peerage; more complex cases were decided depending on circumstances. Customs changed with time; earldoms were the first to be hereditary, and three different rules can be traced for the case of an Earl who left no sons and several married daughters. In the 13th century, the husband of the eldest daughter inherited the earldom automatically; in the 15th century, the earldom reverted to the Crown, who might re-grant it (often to the eldest son-in-law); in the 17th century, it would not be inherited by anybody unless all but one of the daughters died and left no descendants, in which case the remaining daughter (or her heir) would inherit.
After Henry II became the Lord of Ireland, he and his successors began to imitate the English system as it was in their time. Irish earls were first created in the 13th century, and Irish parliaments began later in the same century; until Henry VIII declared himself King of Ireland, these parliaments were small bodies, representing only the Irish Pale. A writ does not create a peerage in Ireland; all Irish peerages are by patent or charter, although some early patents have been lost. After James II left England, he was King of Ireland alone for a time; three creations he ordered then are in the Irish Patent Roll, although the patents were never issued; but these are treated as valid.
The Irish peers were in a peculiar political position: because they were subjects of the King of England, but peers in a different kingdom, they could sit in the English House of Commons, and many did. In the 18th century, Irish peerages became rewards for English politicians, limited only by the concern that they might go to Dublin and interfere with the Irish Government.
Scotland evolved a similar system, differing in points of detail. The first Scottish Earldoms derive from the seven mormaers, of immemorial antiquity; they were named Earls by Queen Margaret. The Parliament of Scotland is as old as the English; the Scottish equivalent of baronies are called lordships of Parliament.
The Act of Union 1707, between England and Scotland, provided that future peerages should be peers of Great Britain, and the rules covering the peers should follow the English model; because there were proportionately many more Scottish peers, they chose a number of representatives to sit in the British House of Lords. The Acts of Union 1800 changed this to peers of the United Kingdom, but provided that Irish peerages could still be created; but the Irish peers were concerned that their honours would be diluted as cheap prizes, and insisted that an Irish peerage could be created only when three Irish peerages had gone extinct (until there were only a hundred Irish peers left). In the early 19th century, Irish creations were as frequent as this allowed; but only three have been created since 1863, and none since 1898. As of 2011, only 66 "only-Irish" peers remain.
Modern laws
The law applicable to a British hereditary peerage depends on which Kingdom it belongs to. Peerages of England, Great Britain, and the United Kingdom follow English law; the difference between them is that Peerages of England were created before the Act of Union 1707, Peerages of Great Britain between 1707 and the Union with Ireland in 1800, and Peerages of the United Kingdom since 1800. Irish Peerages follow the law of the Kingdom of Ireland, which is very much similar to English law, except in referring to the Irish Parliament and Irish officials, generally no longer appointed; no Irish peers have been created since 1898, and they have no part in the present governance of the United Kingdom. Scottish Peerage law is generally similar to English law, but differs in innumerable points of detail, often being more similar to medieval practice.
Women are ineligible to succeed to the majority of English, Irish, and British hereditary peerages, but may inherit certain English baronies by writ and Scottish peerages in the absence of a male heir.
Ranks and titles
The ranks of the Peerage in most of the United Kingdom are, in descending order of rank, duke, marquess, earl, viscount and baron; the female equivalents are duchess, marchioness, countess, viscountess and baroness respectively. Women typically do not hold hereditary titles in their own right, one exception being certain peerages in the Peerage of Scotland; one significant change to the status quo in England was in 1532 when Henry VIII created the Marquess of Pembroke title for his soon to be wife, Anne Boleyn. Anne held this title in her own right and was therefore ennobled with the same rank as a male Viscount.
In the Scottish peerage, the lowest rank is lordship of Parliament, the male holder thereof being known as a lord of Parliament.<ref name="DCA" A Scottish barony is a feudal rank, and not of the Peerage. The barony by tenure or feudal barony in England and Wales was similar to a Scottish feudal barony, in being hereditary, but is long obsolete, the last full summons of the English feudal barons to military service having occurred in 1327. The Tenures Abolition Act 1660 finally quashed any remaining doubt as to their continued status.
Peerage dignities are created by the sovereign by either writs of summons or letters patent. Under modern constitutional conventions, no peerage dignity, with the possible exception of those given to members of the Royal Family, would be created if not upon the advice of the prime minister.
Many peers hold more than one hereditary title; for example, the same individual may be a duke, a marquess, an earl, a viscount, and a baron by virtue of different peerages. If such a person is entitled to sit in the House of Lords, he still only has one vote. However, until the House of Lords Act 1999 it was possible for one of the peer's subsidiary titles to be passed to his heir before his death by means of a writ of acceleration, in which case the peer and his heir would have one vote each. Where this is not done, the heir may still use one of the father's subsidiary titles as a "courtesy title", but he is not considered a peer.
Inheritance of peerages
The mode of inheritance of a hereditary peerage is determined by the method of its creation. Titles may be created by writ of summons or by letters patent. The former is merely a summons of an individual to Parliament and does not explicitly confer a peerage; descent is always to the heirs of the body, male and female. The latter method explicitly creates a peerage and names the dignity in question. Letters patent may state the course of descent; usually, this is only to male heirs, but by a special remainder other descents can be specified. The Gender Recognition Act 2004 regulates acquired gender and provides that acquiring a new gender under the Act does not affect the descent of any peerage.
A child is deemed to be legitimate if its parents are married at the time of its birth or marry later; only legitimate children may succeed to a title, and furthermore, an English, Irish, or British (but not Scottish) peerage can only be inherited by a child born legitimate, not legitimated by a later marriage.
Normally, a peerage passes to the next holder on the death of the previous holder. However, Edward IV introduced a procedure known as a writ of acceleration, whereby it was possible for the eldest son of a peer holding more than one peerage to sit in the House of Lords by virtue of one of his father's subsidiary dignities.
A person who is a possible heir to a peerage is said to be "in remainder". A title becomes extinct (an opposite to extant, alive) when all possible heirs (as provided by the letters patent) have died out; i.e., there is nobody in remainder at the death of the holder. A title becomes dormant if nobody has claimed the title, or if no claim has been satisfactorily proven. A title goes into abeyance if there is more than one person equally entitled to be the holder.
In the past, peerages were sometimes forfeit or attainted under Acts of Parliament, most often as the result of treason on the part of the holder. The blood of an attainted peer was considered "corrupted", consequently his or her descendants could not inherit the title. If all descendants of the attainted peer were to die out, however, then an heir from another branch of the family not affected by the attainder could take the title. The Forfeiture Act 1870 abolished corruption of blood; instead of losing the peerage, a peer convicted of treason would be disqualified from sitting in Parliament for the period of imprisonment.
The Titles Deprivation Act 1917 permitted the Crown to suspend peerages if their holders had fought against the United Kingdom during the First World War. Guilt was to be determined by a committee of the Privy Council; either House of Parliament could reject the committee's report within 40 days of its presentation. In 1919, King George V issued an Order in Council suspending the Dukedom of Albany (together with its subsidiary peerages, the Earldom of Clarence and the Barony of Arklow), the Dukedom of Cumberland and Teviotdale (along with the Earldom of Armagh) and the Viscountcy of Taaffe (along with the Barony of Ballymote). Under the Titles Deprivation Act, the successors to the peerages may petition the Crown for a reinstatement of the titles; so far, none of them has chosen to do so (the Taaffe and Ballymote peerages would have become extinct in 1967).
Nothing prevents a British peerage from being held by a foreign citizen (although such peers cannot sit in the House of Lords, while the term foreign does not include Irish or Commonwealth citizens). Several descendants of George III were British peers and German subjects; the Lords Fairfax of Cameron were American citizens for several generations.
A peer may also disclaim a hereditary peerage under the Peerage Act 1963. To do so, the peer must deliver an instrument of disclaimer to the Lord Chancellor within 12 months of succeeding to the peerage, or, if under the age of 21 at the time of succession, within 12 months of becoming 21 years old. If, at the time of succession, the peer is a member of the House of Commons, then the instrument must be delivered within one month of succession; meanwhile, the peer may not sit or vote in the House of Commons. Prior to the House of Lords Act 1999, a hereditary peer could not disclaim a peerage after having applied for a writ of summons to Parliament; now, however, hereditary peers do not have the automatic right to a writ of summons to the House. Irish peerages may not be disclaimed. A peer who disclaims the peerage loses all titles, rights and privileges associated with the peerage; his wife or her husband is similarly affected. No further hereditary peerages may be conferred upon the person, but life peerages may be. The peerage remains without a holder until the death of the peer making the disclaimer, when it descends normally.
Merging in the Crown
A title held by someone who becomes monarch is said to merge in the Crown and therefore ceases to exist, because the Sovereign cannot hold a dignity from themselves.
The Dukedoms of Cornwall and of Rothesay, and the Earldom of Carrick, are special cases, which when not in use are said to lapse to the Crown: they are construed as existing, but held by no one, during such periods. These peerages are also special because they are never directly inherited. The Dukedom of Cornwall was held formerly by the eldest son of the King of England, and the Dukedom of Rothesay, the Earldom of Carrick, and certain non-peerage titles (Baron of Renfrew, Lord of the Isles and Prince and Great Steward of Scotland) by the eldest son of the King of Scotland. Since those titles have been united, the dukedoms and associated subsidiary titles are held by the eldest son of the monarch. In Scotland, the title Duke of Rothesay is used for life. In England and Northern Ireland, the title Duke of Cornwall is used until the heir apparent is created Prince of Wales. At the same time as the Principality is created, the Duke is also created Earl of Chester. The earldom is a special case, because it is not hereditary, instead revesting or merging in the Crown if the Prince succeeds to the Crown or predeceases the monarch: thus George III (then the grandson of the reigning monarch) was created Prince of Wales and Earl of Chester a month after the death of his father Frederick, Prince of Wales.
The Dukedom of Cornwall is associated with the Duchy of Cornwall; the former is a peerage dignity, while the latter is a private estate held by the Duke of Cornwall with certain privileges under the law. For example, the duchy is exempt from the provisions of the Town and County Planning Act 1990. Therefore, the planning laws of England and Wales do not apply to the duchy. This was evidenced in 2002 when Kerrier District Council objected to duchy plans to commence development on one of its properties. Income from the Duchy of Cornwall goes to the Duke of Cornwall, or, when there is no duke, to the Sovereign (but the money is then paid to the heir to the throne under the Sovereign Grant Act 2011). The duchy is now considered to be a private estate and conveys to the Prince of Wales the greater part of his income. The only other Duchy in the United Kingdom is the Duchy of Lancaster, which is also an estate rather than a peerage dignity. The Dukedom of Lancaster merged in the Crown when Henry of Monmouth, Duke of Lancaster became King Henry V. Nonetheless, the Duchy of Lancaster still continues to exist, theoretically run by the Chancellor of the Duchy of Lancaster, which is normally a sinecure position with no actual duties related to the Duchy, used to appoint a minister without portfolio. The Duchy of Lancaster is the inherited property that belongs personally to the monarch, rather than to the Crown. Thus, while income from the Crown Estate is turned over to the Exchequer in return for a civil list payment, the income from the Duchy forms a part of the Privy Purse, the personal funds of the Sovereign.
Writs of summons
At the beginning of each new parliament, each peer who has established his or her right to attend Parliament is issued a writ of summons. Without the writ, no peer may sit or vote in Parliament. The form of writs of summons has changed little over the centuries. It is established precedent that the sovereign may not deny writs of summons to qualified peers.
Baronies by writ
By modern English law, if a writ of summons was issued to a person who was not a peer, that person took his seat in Parliament, and the parliament was a parliament in the modern sense (including representatives of the Commons), that single writ created a barony, a perpetual peerage inheritable by male-preference primogeniture. This was not medieval practice, and it is doubtful whether any writ was ever issued with the intent of creating such a peerage. The last instance of a man being summoned by writ without already holding a peerage was under the early Tudors; the first clear decision that a single writ (as opposed to a long succession of writs) created a peerage was in Lord Abergavenny's case of 1610. The House of Lords Act 1999 also renders it doubtful that such a writ would now create a peer if one were now issued; however, this doctrine is applied retrospectively: if it can be shown that a writ was issued, that the recipient sat and that the council in question was a parliament, the Committee of Privileges of the House of Lords determines who is now entitled to the peerage as though modern law had always applied. Several such long-lost baronies were claimed in the 19th and 20th centuries, though the committee was not consistent on what constituted proof of a writ, what constituted proof of sitting, and which 13th-century assemblages were actually parliaments. Even a writ issued in error is held to create a peerage unless the writ was cancelled before the recipient took his seat; the cancellation was performed by the now obsolete writ of supersedeas.
Peerages created by writ of summons are presumed to be inheritable only by the recipient's heirs of the body. The House of Lords has settled such a presumption in several cases, including Lord Grey's Case (1640) Cro Cas 601, the Clifton Barony Case (1673), the Vaux Peerage Case (1837) 5 Cl & Fin 526, the Braye Peerage Case (1839) 6 Cl & Fin 757 and the Hastings Peerage Case (1841) 8 Cl & Fin 144. The meaning of heir of the body is determined by common law. Essentially, descent is by the rules of male primogeniture, a mechanism whereby normally, male descendants of the peer take precedence over female descendants, with children representing their deceased ancestors, and wherein the senior line of descent always takes precedence over the junior line per each gender. These rules, however, are amended by the proviso whereby sisters (and their heirs) are considered co-heirs; seniority of the line is irrelevant when succession is through a female line. In other words, no woman inherits because she is older than her sisters. If all of the co-heirs but one die, then the surviving co-heir succeeds to the title. Otherwise, the title remains abeyant until the sovereign "terminates" the abeyance in favour of one of the co-heirs. The termination of an abeyance is entirely at the discretion of the Crown.
A writ of acceleration is a type of writ of summons that enables the eldest son of a peer to attend the House of Lords using one of his father's subsidiary titles. The title is strictly not inherited by the eldest son, however; it remains vested in the father. A writ may be granted only if the title being accelerated is a subsidiary one, and not the main title, and if the beneficiary of the writ is the heir-apparent of the actual holder of the title. A total of ninety-four writs of acceleration have been issued since Edward IV issued the first one, including four writs issued in the twentieth century. The only individual who recently sat in the House of Lords by writ of acceleration is Viscount Cranborne in 1992, through the Barony of Cecil which was actually being held by his father, the Marquess of Salisbury. (Viscount Cranborne succeeded to the marquessate on the death of his father in 2003.)
There are no Scottish peerages created by writ; neither can Scottish baronies go into abeyance, for Scots law does not hold sisters as equal heirs regardless of age. Furthermore, there is only one extant barony by writ in the Peerage of Ireland, that of La Poer, now held by the Marquess of Waterford. (Certain other baronies were originally created by writ but later confirmed by letters patent.)
Letters patent
More often, letters patent are used to create peerages. Letters patent must explicitly name the recipient of the title and specify the course of descent; the exact meaning of the term is determined by common law. For remainders in the Peerage of the United Kingdom, the most common wording is "to have and to hold unto him and the heirs male of his body lawfully begotten and to be begotten". Where the letters patent specifies the peer's heirs male of the body as successors, the rules of agnatic succession apply, meaning that succession is through the male line only. Some very old titles, like the Earldom of Arlington, may pass to heirs of the body (not just heirs-male), these follow the same rules of descent as do baronies by writ and seem able to fall into abeyance as well. Many Scottish titles allow for passage to heirs general of the body, in which case the rules of male primogeniture apply; they do not fall into abeyance, as under Scots law, sisters are not treated as equal co-heirs. English and British letters patent that do not specify a course of descent are invalid, though the same is not true for the letters patent creating peers in the Peerage of Scotland. The House of Lords has ruled in certain cases that when the course of descent is not specified, or when the letters patent are lost, the title descends to heirs-male.
Limitation to heirs of the body
It is generally necessary for English patents to include limitation to heirs "of the body", unless a special remainder is specified (see below). The limitation indicates that only lineal descendants of the original peer may succeed to the peerage. In some very rare instances, the limitation was left out. In the Devon Peerage Case (1831) 2 Dow & Cl 200, the House of Lords permitted an heir who was a collateral descendant of the original peer to take his seat. The precedent, however, was reversed in 1859, when the House of Lords decided in the Wiltes Peerage Case (1869) LR 4 HL 126 that a patent that did not include the words "of the body" would be held void.
Special remainder
It is possible for a patent to allow for succession by someone other than an heir-male or heir of the body, under a so-called special remainder. Several instances may be cited: the Barony of Nelson (to an elder brother and his heirs-male), the Earldom of Roberts (to a daughter and her heirs-male), the Barony of Amherst (to a nephew and his heirs-male) and the Dukedom of Dover (to a younger son and his heirs-male while the eldest son is still alive). In many cases, at the time of the grant the proposed peer in question had no sons, nor any prospect of producing any, and the special remainder was made to allow remembrance of his personal honour to continue after his death and to preclude an otherwise certain rapid extinction of the peerage. However, in all cases the course of descent specified in the patent must be known in common law. For instance, the Crown may not make a "shifting limitation" in the letters patent; in other words, the patent may not vest the peerage in an individual and then, before that person's death, shift the title to another person. The doctrine was established in the Buckhurst Peerage Case (1876) 2 App Cas 1, in which the House of Lords deemed invalid the clause intended to keep the Barony of Buckhurst separate from the Earldom of De La Warr (the invalidation of clause may not affect the validity of the letters patent itself). The patent stipulated that if the holder of the barony should ever inherit the earldom, then he would be deprived of the barony, which would instead pass to the next successor as if the deprived holder had died without issue.
Amendment of letters patent
Letters patent are not absolute; they may be amended or revoked by Act of Parliament. For example, Parliament amended the letters patent creating the Dukedom of Marlborough in 1706. The patent originally provided that the dukedom could be inherited by the heirs-male of the body of the first duke, Captain-General Sir John Churchill. One son had died in infancy and the other died in 1703 from smallpox. Under Parliament's amendment to the patent, designed to allow the famous general's honour to survive after his death, the dukedom was allowed to pass to the Duke's daughters; Lady Henrietta, the Countess of Sunderland, the Countess of Bridgewater and Lady Mary and their heirs-male - and thereafter "to all and every other the issue male and female, lineally descending of or from the said Duke of Marlborough, in such manner and for such estate as the same are before limited to the before-mentioned issue of the said Duke, it being intended that the said honours shall continue, remain, and be invested in all the issue of the said Duke, so long as any such issue male or female shall continue, and be held by them severally and successively in manner and form aforesaid, the elder and the descendants of every elder issue to be preferred before the younger of such issue."
Number of hereditary peers
The number of peers has varied considerably with time. At the end of the Wars of the Roses, which killed many peers, and degraded or attainted many others, there were only 29 Lords Temporal; but the population of England was also much . The Tudors doubled the number of Peers, creating many but executing others; at the death of Queen Elizabeth I, there were 59.
The number of peers then grew under the Stuarts and all later monarchs. By the time of Queen Anne's death in 1714, there were 168 peers. In 1712, Queen Anne was called upon to create 12 peers in one day in order to pass a government measure, more than Queen Elizabeth I had created during a 45-year reign.
Several peers were alarmed at the rapid increase in the size of the Peerage, fearing that their individual importance and power would decrease as the number of peers increased. Therefore, in 1719, a bill was introduced in the House of Lords to place a limitation on the Crown's power. It sought to permit no more than six new creations, and thereafter one new creation for each other title that became extinct. But it did allow the Crown to bestow titles on members of the Royal Family without any such limitation. The Bill was rejected in its final stage in the Lords, but it was passed in the Lords when it was reintroduced in the next year. Nonetheless, the House of Commons rejected the Peerage Bill by 269 to 177.
George III was especially profuse with the creation of titles, mainly due to the desire of some of his Prime Ministers to obtain a majority in the House of Lords. During his 12 years in power, Lord North had about 30 new peerages created. During William Pitt the Younger's 17-year tenure, over 140 new peerages were awarded.
A restriction on the creation of peerages, but only in the Peerage of Ireland, was enacted under the Acts of Union 1800 that combined Ireland and Great Britain into the United Kingdom in 1801. New creations were restricted to a maximum of one new Irish peerage for every three existing Irish peerages that became extinct, excluding those held concurrently with an English or British peerage; only if the total number of Irish peers dropped below 100 could the Sovereign create one new Irish peerage for each extinction.
There were no restrictions on creations in the Peerage of the United Kingdom. The Peerage continued to swell through the 19th century. In the 20th century, there were even more creations, as Prime Ministers were eager to secure majorities in the House of Lords. Peerages were handed out not to honour the recipient but to give him a seat in the House of Lords.
Current status
Since the start of the Labour government of Harold Wilson in 1964, the practice of granting hereditary peerages has largely ceased (except for members of the royal family). Only seven hereditary peers have been created since 1965: four in the Royal Family (the Duke of York, the Earl of Wessex, the Duke of Cambridge, and the Duke of Sussex) and three additional creations under Margaret Thatcher's government (the Viscount Whitelaw [had four daughters], the Viscount Tonypandy [had no issue] and the Earl of Stockton [with issue]). The two viscounts died without male heirs, extinguishing their titles. Harold Macmillan, 1st Earl of Stockton received the earldom customarily bestowed on former prime ministers after they retired from the House of Commons. The practice of granting hereditary titles (usually earldoms) to male commoners who married into the royal family appears to have also ended. The last such peerage was offered to Captain Mark Phillips, who declined. The most recent to accept was the Earl of Snowdon.
There is no statute that prevents the creation of new hereditary peerages; they may technically be created at any time, and the government continues to maintain pro forma letters patent for their creation. The most recent policies outlining the creation of new peerages, the Royal Warrant of 2004, explicitly apply to both hereditary and life peers. However, successive governments have largely disowned the practice, and the Royal Household website currently describes the Queen as the fount of honour for "life peerages, knighthoods and gallantry awards", with no mention of hereditary titles.
Roles
Until the coming into force of the Peerage Act 1963, peers could not disclaim their peerage in order to sit in the House of Commons, and thus a peerage was sometimes seen as an impediment to a future political career. The law changed due to an agreement that the Labour MP Tony Benn having been deprived of his seat due to an inadvertent inheritance was undemocratic; and the desire of the Conservatives to put their choice of Prime Minister (ultimately Alec Douglas-Home) into the House of Commons, which by that time was deemed politically necessary.
In 1999, the House of Lords Act abolished the automatic right of hereditary peers to sit in the House of Lords. Out of about 750 hereditary peers, only 92 may sit in the House of Lords. The Act provides that 90 of those 92 seats are to be elected by other members of the House: 15 by vote of the whole house (including life peers), 42 by the Conservative hereditary peers, two by the Labour hereditary peers, three by the Liberal Democrat hereditary peers, and 28 by the crossbench hereditary peers. Elections were held in October and November 1999 to choose those initial 90 peers, with all hereditary peers eligible to vote. Hereditary peers elected hold their seats until their death, resignation or exclusion for non-attendance (the latter two means introduced by the House of Lords Reform Act 2014), at which point by-elections are held to maintain the number at 92.
The remaining two hold their seats by right of the hereditary offices of Earl Marshal and Lord Great Chamberlain. These offices are hereditary in themselves, and in recent times have been held by the Dukes of Norfolk and the Marquesses of Cholmondeley respectively. These are the only two hereditary peers whose right to sit is automatic.
The Government reserves a number of political and ceremonial positions for hereditary peers. To encourage hereditary peers in the House of Lords to follow the party line, a number of Lords-in-Waiting (government whips) are usually hereditary peers. This practice was not adhered to by the Labour government of 1997–2010 due to the small number of Labour hereditary peers in the House of Lords.
Modern composition of the hereditary peerage
The peerage has traditionally been associated with high gentry, the British nobility, and in recent times, the Conservative Party. Only a tiny proportion of wealthy people are peers, but the peerage includes a few of the very wealthiest, such as Hugh Grosvenor (the Duke of Westminster) and Lord Salisbury. A few peers own one or more of England's largest estates passed down through inheritance, particularly those with medieval roots: until the late 19th century the dominant English and Scottish land division on death was primogeniture.
However, the proliferation of peerage creations in the late 19th century and the first half of the 20th century resulted in even minor political figures entering the ranks of the peerage; these included newspaper owners (e.g. Alfred Harmsworth) and trade union leaders (e.g. Walter Citrine). As a result, there are many hereditary peers who have taken up careers which do not fit traditional conceptions of aristocracy. For example, Arup Kumar Sinha, 6th Baron Sinha is a computer technician working for a travel agency; Matt Ridley, 5th Viscount Ridley, is a popular science writer; Timothy Bentinck, 12th Earl of Portland is an actor and plays David Archer in the BBC’s long-running radio soap opera, The Archers; and Peter St Clair-Erskine, 7th Earl of Rosslyn is a former Metropolitan Police Service Commander. The Earl of Longford was a socialist and prison reformer, while Tony Benn, who renounced his peerage as Viscount Stansgate (only for his son to reclaim the family title after his death) was a senior government minister (later a writer and orator) with left-wing policies.
Gender distribution
As the vast majority of hereditary peerages can only be inherited by men, the number of peeresses in their own right is very small; only 18 out of 758 hereditary peers by succession, or 2.2%, were female, as of 1992.
All female hereditary peers succeeding after 1980 have been to English or Scottish peerages originally created before 1700. Of the over 600 hereditary peerages created since 1900, only ten could be inherited by daughters of the original recipient, and none can be inherited by granddaughters or higher-order female descendants of the original recipient.
From 1963 (when female hereditary peers were allowed to enter the House of Lords) to 1999, there has been a total of 25 female hereditary peers.
Of those 92 currently sitting in the House of Lords, none are female, since the retirement of Margaret of Mar, 31st Countess of Mar in 2020. Originally there were five female peers elected under the House of Lords Act 1999 (all of them Crossbenchers), but all of these have since died or resigned, and no female has won a by-election to a vacant Lords seat since 1999.
A single female peer, the 29th Baroness Dacre, is listed in the "Register of Hereditary Peers" among about 200 male peers as willing to stand in by-elections, as of October 2020.
See also
List of hereditary baronies in the Peerage of the United Kingdom
List of hereditary peers elected to sit in the House of Lords under the House of Lords Act 1999
By-elections to the House of Lords
List of hereditary peers in the House of Lords by virtue of a life peerage
Substantive title
Writ of acceleration
Roll of the Peerage
The Hereditary Peerage Association
Notes
References
UK Legislation
External links
Kinship and descent
Peerages in the United Kingdom
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"Ranks and insignia of the Military of Serbia and Montenegro were the military insignia used by the Armed Forces of Serbia and Montenegro. The Military of Serbia and Montenegro used the same military ranks insignia as Yugoslav People's Army, with some ranks abolished. The same ranks and insignia system was used both before and after the constitutional reforms of 2003, before which the military held the name \"Military of Yugoslavia\". When the union of Serbia and Montenegro was dissolved, the two new armies created new systems of ranks and insignia.\n\nCap Badges\n\nAbandoned Proposals\n\n2003\n\nOfficers \nThe rank insignia for commissioned officers for the Ground forces, Navy and Air force respectively.\n\nEnlisted \nThe rank insignia for enlisted personnel for the Ground forces, Navy and Air force respectively.\n\n2006\n\nOfficers \nThe rank insignia for commissioned officers for the Ground forces, Navy and Air force respectively.\n\nEnlisted \nThe rank insignia for enlisted personnel for the Ground forces, Navy and Air force respectively.\n\nSee also\nYugoslav People's Army Ranks\nSerbian military ranks and insignia\n\nReferences\nRanks of the RV i PVO\n\nMilitary ranks of Yugoslavia"
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How do you get a rank?
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How do you get a rank of hereditary peer?
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Hereditary peer
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The ranks of the Peerage in most of the United Kingdom are, in descending order of rank, duke, marquess, earl, viscount and baron; the female equivalents are duchess, marchioness, countess, viscountess and baroness respectively. In the Scottish peerage, the lowest rank is lordship of Parliament, the male holder thereof being known as a lord of Parliament. A Scottish barony is a feudal rank, and not of the Peerage. The barony by tenure or feudal barony in England and Wales was similar to a Scottish feudal barony, in being hereditary, but is long obsolete, the last full summons of the English feudal barons to military service having occurred in 1327. The Tenures Abolition Act 1660 finally quashed any remaining doubt as to their continued status. Peerage dignities are created by the Sovereign by either writs of summons or letters patent. Under modern constitutional conventions, no peerage dignity, with the possible exception of those given to members of the Royal Family, would be created except upon the advice of the Prime Minister. Many peers hold more than one hereditary title; for example, the same individual may be a duke, an earl, a viscount and a baron by virtue of different peerages. If such a person is entitled to sit in the House of Lords, he still only has one vote. However, until the House of Lords Act 1999 it was possible for one of the peer's subsidiary titles to be passed to his heir before his death by means of a writ of acceleration, in which case the peer and his heir would have one vote each. Where this is not done, the heir may still use one of the father's subsidiary titles as a "courtesy title", but he is not considered a peer. CANNOTANSWER
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In the Scottish peerage, the lowest rank is lordship of Parliament, the male holder thereof being known as a lord of Parliament.
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The hereditary peers form part of the peerage in the United Kingdom. As of November 2021, there are 809 hereditary peers: 30 dukes (including six royal dukes), 34 marquesses, 191 earls, 111 viscounts, and 443 barons (disregarding subsidiary titles).
Not all hereditary titles are titles of the peerage. For instance, baronets and baronetesses may pass on their titles, but they are not peers. Conversely, the holder of a non-hereditary title may belong to the peerage, as with life peers. Peerages may be created by means of letters patent, but the granting of new hereditary peerages has largely dwindled; only seven hereditary peerages have been created since 1965, four of them for members of the British royal family.
As a result of the Peerage Act 1963 all peers except those in the peerage of Ireland were entitled to sit in the House of Lords, but since the House of Lords Act 1999 came into force only 92 hereditary peers, elected by and from all hereditary peers, are permitted to do so, unless they are also life peers. Peers are called to the House of Lords with a writ of summons.
Origins
The hereditary peerage, as it now exists, combines several different English institutions with analogues from Scotland and Ireland.
English Earls are an Anglo-Saxon institution. Around 1014, England was divided into shires or counties, largely to defend against the Danes; each shire was led by a local great man, called an earl; the same man could be earl of several shires. When the Normans conquered England, they continued to appoint earls, but not for all counties; the administrative head of the county became the sheriff. Earldoms began as offices, with a perquisite of a share of the legal fees in the county; they gradually became honours, with a stipend of £20 a year. Like most feudal offices, earldoms were inherited, but the kings frequently asked earls to resign or exchange earldoms. Usually there were few Earls in England, and they were men of great wealth in the shire from which they held title, or an adjacent one, but it depended on circumstances: during the civil war between Stephen and the Empress Matilda, nine Earls were created in three years.
William the Conqueror and his great-grandson Henry II did not make Dukes; they were themselves only Dukes of Normandy or Aquitaine. But when Edward III of England declared himself King of France, he made his sons Dukes, to distinguish them from other noblemen, much as Royal Dukes are now distinguished from other Dukes. Later Kings created Marquesses and Viscounts to make finer gradations of honour: a rank something more than an Earl and something less than an Earl, respectively.
When Henry III or Edward I wanted money or advice from his subjects, he would order great churchmen, earls, and other great men to come to his Great Council (some of these are now considered the first parliaments); he would generally order lesser men from towns and counties to gather and pick some men to represent them. The English Order of Barons evolved from those men who were individually ordered to attend Parliament, but held no other title; the chosen representatives, on the other hand, became the House of Commons. This order, called a writ, was not originally hereditary, or even a privilege; the recipient had to come to the Great Council at his own expense, vote on taxes on himself and his neighbours, acknowledge that he was the king's tenant-in-chief (which might cost him special taxes), and risk involvement in royal politics – or a request from the king for a personal loan (benevolence). Which men were ordered to Council varied from Council to Council; a man might be so ordered once and never again, or all his life, but his son and heir might never go.
Under Henry VI of England, in the 15th century, just before the Wars of the Roses, attendance at Parliament became more valuable. The first claim of hereditary right to a writ comes from this reign; so does the first patent, or charter declaring a man to be a baron. The five orders began to be called peers. Holders of older peerages also began to receive greater honour than peers of the same rank just created.
If a man held a peerage, his son would succeed to it; if he had no children, his brother would succeed. If he had a single daughter, his son-in-law would inherit the family lands, and usually the same peerage; more complex cases were decided depending on circumstances. Customs changed with time; earldoms were the first to be hereditary, and three different rules can be traced for the case of an Earl who left no sons and several married daughters. In the 13th century, the husband of the eldest daughter inherited the earldom automatically; in the 15th century, the earldom reverted to the Crown, who might re-grant it (often to the eldest son-in-law); in the 17th century, it would not be inherited by anybody unless all but one of the daughters died and left no descendants, in which case the remaining daughter (or her heir) would inherit.
After Henry II became the Lord of Ireland, he and his successors began to imitate the English system as it was in their time. Irish earls were first created in the 13th century, and Irish parliaments began later in the same century; until Henry VIII declared himself King of Ireland, these parliaments were small bodies, representing only the Irish Pale. A writ does not create a peerage in Ireland; all Irish peerages are by patent or charter, although some early patents have been lost. After James II left England, he was King of Ireland alone for a time; three creations he ordered then are in the Irish Patent Roll, although the patents were never issued; but these are treated as valid.
The Irish peers were in a peculiar political position: because they were subjects of the King of England, but peers in a different kingdom, they could sit in the English House of Commons, and many did. In the 18th century, Irish peerages became rewards for English politicians, limited only by the concern that they might go to Dublin and interfere with the Irish Government.
Scotland evolved a similar system, differing in points of detail. The first Scottish Earldoms derive from the seven mormaers, of immemorial antiquity; they were named Earls by Queen Margaret. The Parliament of Scotland is as old as the English; the Scottish equivalent of baronies are called lordships of Parliament.
The Act of Union 1707, between England and Scotland, provided that future peerages should be peers of Great Britain, and the rules covering the peers should follow the English model; because there were proportionately many more Scottish peers, they chose a number of representatives to sit in the British House of Lords. The Acts of Union 1800 changed this to peers of the United Kingdom, but provided that Irish peerages could still be created; but the Irish peers were concerned that their honours would be diluted as cheap prizes, and insisted that an Irish peerage could be created only when three Irish peerages had gone extinct (until there were only a hundred Irish peers left). In the early 19th century, Irish creations were as frequent as this allowed; but only three have been created since 1863, and none since 1898. As of 2011, only 66 "only-Irish" peers remain.
Modern laws
The law applicable to a British hereditary peerage depends on which Kingdom it belongs to. Peerages of England, Great Britain, and the United Kingdom follow English law; the difference between them is that Peerages of England were created before the Act of Union 1707, Peerages of Great Britain between 1707 and the Union with Ireland in 1800, and Peerages of the United Kingdom since 1800. Irish Peerages follow the law of the Kingdom of Ireland, which is very much similar to English law, except in referring to the Irish Parliament and Irish officials, generally no longer appointed; no Irish peers have been created since 1898, and they have no part in the present governance of the United Kingdom. Scottish Peerage law is generally similar to English law, but differs in innumerable points of detail, often being more similar to medieval practice.
Women are ineligible to succeed to the majority of English, Irish, and British hereditary peerages, but may inherit certain English baronies by writ and Scottish peerages in the absence of a male heir.
Ranks and titles
The ranks of the Peerage in most of the United Kingdom are, in descending order of rank, duke, marquess, earl, viscount and baron; the female equivalents are duchess, marchioness, countess, viscountess and baroness respectively. Women typically do not hold hereditary titles in their own right, one exception being certain peerages in the Peerage of Scotland; one significant change to the status quo in England was in 1532 when Henry VIII created the Marquess of Pembroke title for his soon to be wife, Anne Boleyn. Anne held this title in her own right and was therefore ennobled with the same rank as a male Viscount.
In the Scottish peerage, the lowest rank is lordship of Parliament, the male holder thereof being known as a lord of Parliament.<ref name="DCA" A Scottish barony is a feudal rank, and not of the Peerage. The barony by tenure or feudal barony in England and Wales was similar to a Scottish feudal barony, in being hereditary, but is long obsolete, the last full summons of the English feudal barons to military service having occurred in 1327. The Tenures Abolition Act 1660 finally quashed any remaining doubt as to their continued status.
Peerage dignities are created by the sovereign by either writs of summons or letters patent. Under modern constitutional conventions, no peerage dignity, with the possible exception of those given to members of the Royal Family, would be created if not upon the advice of the prime minister.
Many peers hold more than one hereditary title; for example, the same individual may be a duke, a marquess, an earl, a viscount, and a baron by virtue of different peerages. If such a person is entitled to sit in the House of Lords, he still only has one vote. However, until the House of Lords Act 1999 it was possible for one of the peer's subsidiary titles to be passed to his heir before his death by means of a writ of acceleration, in which case the peer and his heir would have one vote each. Where this is not done, the heir may still use one of the father's subsidiary titles as a "courtesy title", but he is not considered a peer.
Inheritance of peerages
The mode of inheritance of a hereditary peerage is determined by the method of its creation. Titles may be created by writ of summons or by letters patent. The former is merely a summons of an individual to Parliament and does not explicitly confer a peerage; descent is always to the heirs of the body, male and female. The latter method explicitly creates a peerage and names the dignity in question. Letters patent may state the course of descent; usually, this is only to male heirs, but by a special remainder other descents can be specified. The Gender Recognition Act 2004 regulates acquired gender and provides that acquiring a new gender under the Act does not affect the descent of any peerage.
A child is deemed to be legitimate if its parents are married at the time of its birth or marry later; only legitimate children may succeed to a title, and furthermore, an English, Irish, or British (but not Scottish) peerage can only be inherited by a child born legitimate, not legitimated by a later marriage.
Normally, a peerage passes to the next holder on the death of the previous holder. However, Edward IV introduced a procedure known as a writ of acceleration, whereby it was possible for the eldest son of a peer holding more than one peerage to sit in the House of Lords by virtue of one of his father's subsidiary dignities.
A person who is a possible heir to a peerage is said to be "in remainder". A title becomes extinct (an opposite to extant, alive) when all possible heirs (as provided by the letters patent) have died out; i.e., there is nobody in remainder at the death of the holder. A title becomes dormant if nobody has claimed the title, or if no claim has been satisfactorily proven. A title goes into abeyance if there is more than one person equally entitled to be the holder.
In the past, peerages were sometimes forfeit or attainted under Acts of Parliament, most often as the result of treason on the part of the holder. The blood of an attainted peer was considered "corrupted", consequently his or her descendants could not inherit the title. If all descendants of the attainted peer were to die out, however, then an heir from another branch of the family not affected by the attainder could take the title. The Forfeiture Act 1870 abolished corruption of blood; instead of losing the peerage, a peer convicted of treason would be disqualified from sitting in Parliament for the period of imprisonment.
The Titles Deprivation Act 1917 permitted the Crown to suspend peerages if their holders had fought against the United Kingdom during the First World War. Guilt was to be determined by a committee of the Privy Council; either House of Parliament could reject the committee's report within 40 days of its presentation. In 1919, King George V issued an Order in Council suspending the Dukedom of Albany (together with its subsidiary peerages, the Earldom of Clarence and the Barony of Arklow), the Dukedom of Cumberland and Teviotdale (along with the Earldom of Armagh) and the Viscountcy of Taaffe (along with the Barony of Ballymote). Under the Titles Deprivation Act, the successors to the peerages may petition the Crown for a reinstatement of the titles; so far, none of them has chosen to do so (the Taaffe and Ballymote peerages would have become extinct in 1967).
Nothing prevents a British peerage from being held by a foreign citizen (although such peers cannot sit in the House of Lords, while the term foreign does not include Irish or Commonwealth citizens). Several descendants of George III were British peers and German subjects; the Lords Fairfax of Cameron were American citizens for several generations.
A peer may also disclaim a hereditary peerage under the Peerage Act 1963. To do so, the peer must deliver an instrument of disclaimer to the Lord Chancellor within 12 months of succeeding to the peerage, or, if under the age of 21 at the time of succession, within 12 months of becoming 21 years old. If, at the time of succession, the peer is a member of the House of Commons, then the instrument must be delivered within one month of succession; meanwhile, the peer may not sit or vote in the House of Commons. Prior to the House of Lords Act 1999, a hereditary peer could not disclaim a peerage after having applied for a writ of summons to Parliament; now, however, hereditary peers do not have the automatic right to a writ of summons to the House. Irish peerages may not be disclaimed. A peer who disclaims the peerage loses all titles, rights and privileges associated with the peerage; his wife or her husband is similarly affected. No further hereditary peerages may be conferred upon the person, but life peerages may be. The peerage remains without a holder until the death of the peer making the disclaimer, when it descends normally.
Merging in the Crown
A title held by someone who becomes monarch is said to merge in the Crown and therefore ceases to exist, because the Sovereign cannot hold a dignity from themselves.
The Dukedoms of Cornwall and of Rothesay, and the Earldom of Carrick, are special cases, which when not in use are said to lapse to the Crown: they are construed as existing, but held by no one, during such periods. These peerages are also special because they are never directly inherited. The Dukedom of Cornwall was held formerly by the eldest son of the King of England, and the Dukedom of Rothesay, the Earldom of Carrick, and certain non-peerage titles (Baron of Renfrew, Lord of the Isles and Prince and Great Steward of Scotland) by the eldest son of the King of Scotland. Since those titles have been united, the dukedoms and associated subsidiary titles are held by the eldest son of the monarch. In Scotland, the title Duke of Rothesay is used for life. In England and Northern Ireland, the title Duke of Cornwall is used until the heir apparent is created Prince of Wales. At the same time as the Principality is created, the Duke is also created Earl of Chester. The earldom is a special case, because it is not hereditary, instead revesting or merging in the Crown if the Prince succeeds to the Crown or predeceases the monarch: thus George III (then the grandson of the reigning monarch) was created Prince of Wales and Earl of Chester a month after the death of his father Frederick, Prince of Wales.
The Dukedom of Cornwall is associated with the Duchy of Cornwall; the former is a peerage dignity, while the latter is a private estate held by the Duke of Cornwall with certain privileges under the law. For example, the duchy is exempt from the provisions of the Town and County Planning Act 1990. Therefore, the planning laws of England and Wales do not apply to the duchy. This was evidenced in 2002 when Kerrier District Council objected to duchy plans to commence development on one of its properties. Income from the Duchy of Cornwall goes to the Duke of Cornwall, or, when there is no duke, to the Sovereign (but the money is then paid to the heir to the throne under the Sovereign Grant Act 2011). The duchy is now considered to be a private estate and conveys to the Prince of Wales the greater part of his income. The only other Duchy in the United Kingdom is the Duchy of Lancaster, which is also an estate rather than a peerage dignity. The Dukedom of Lancaster merged in the Crown when Henry of Monmouth, Duke of Lancaster became King Henry V. Nonetheless, the Duchy of Lancaster still continues to exist, theoretically run by the Chancellor of the Duchy of Lancaster, which is normally a sinecure position with no actual duties related to the Duchy, used to appoint a minister without portfolio. The Duchy of Lancaster is the inherited property that belongs personally to the monarch, rather than to the Crown. Thus, while income from the Crown Estate is turned over to the Exchequer in return for a civil list payment, the income from the Duchy forms a part of the Privy Purse, the personal funds of the Sovereign.
Writs of summons
At the beginning of each new parliament, each peer who has established his or her right to attend Parliament is issued a writ of summons. Without the writ, no peer may sit or vote in Parliament. The form of writs of summons has changed little over the centuries. It is established precedent that the sovereign may not deny writs of summons to qualified peers.
Baronies by writ
By modern English law, if a writ of summons was issued to a person who was not a peer, that person took his seat in Parliament, and the parliament was a parliament in the modern sense (including representatives of the Commons), that single writ created a barony, a perpetual peerage inheritable by male-preference primogeniture. This was not medieval practice, and it is doubtful whether any writ was ever issued with the intent of creating such a peerage. The last instance of a man being summoned by writ without already holding a peerage was under the early Tudors; the first clear decision that a single writ (as opposed to a long succession of writs) created a peerage was in Lord Abergavenny's case of 1610. The House of Lords Act 1999 also renders it doubtful that such a writ would now create a peer if one were now issued; however, this doctrine is applied retrospectively: if it can be shown that a writ was issued, that the recipient sat and that the council in question was a parliament, the Committee of Privileges of the House of Lords determines who is now entitled to the peerage as though modern law had always applied. Several such long-lost baronies were claimed in the 19th and 20th centuries, though the committee was not consistent on what constituted proof of a writ, what constituted proof of sitting, and which 13th-century assemblages were actually parliaments. Even a writ issued in error is held to create a peerage unless the writ was cancelled before the recipient took his seat; the cancellation was performed by the now obsolete writ of supersedeas.
Peerages created by writ of summons are presumed to be inheritable only by the recipient's heirs of the body. The House of Lords has settled such a presumption in several cases, including Lord Grey's Case (1640) Cro Cas 601, the Clifton Barony Case (1673), the Vaux Peerage Case (1837) 5 Cl & Fin 526, the Braye Peerage Case (1839) 6 Cl & Fin 757 and the Hastings Peerage Case (1841) 8 Cl & Fin 144. The meaning of heir of the body is determined by common law. Essentially, descent is by the rules of male primogeniture, a mechanism whereby normally, male descendants of the peer take precedence over female descendants, with children representing their deceased ancestors, and wherein the senior line of descent always takes precedence over the junior line per each gender. These rules, however, are amended by the proviso whereby sisters (and their heirs) are considered co-heirs; seniority of the line is irrelevant when succession is through a female line. In other words, no woman inherits because she is older than her sisters. If all of the co-heirs but one die, then the surviving co-heir succeeds to the title. Otherwise, the title remains abeyant until the sovereign "terminates" the abeyance in favour of one of the co-heirs. The termination of an abeyance is entirely at the discretion of the Crown.
A writ of acceleration is a type of writ of summons that enables the eldest son of a peer to attend the House of Lords using one of his father's subsidiary titles. The title is strictly not inherited by the eldest son, however; it remains vested in the father. A writ may be granted only if the title being accelerated is a subsidiary one, and not the main title, and if the beneficiary of the writ is the heir-apparent of the actual holder of the title. A total of ninety-four writs of acceleration have been issued since Edward IV issued the first one, including four writs issued in the twentieth century. The only individual who recently sat in the House of Lords by writ of acceleration is Viscount Cranborne in 1992, through the Barony of Cecil which was actually being held by his father, the Marquess of Salisbury. (Viscount Cranborne succeeded to the marquessate on the death of his father in 2003.)
There are no Scottish peerages created by writ; neither can Scottish baronies go into abeyance, for Scots law does not hold sisters as equal heirs regardless of age. Furthermore, there is only one extant barony by writ in the Peerage of Ireland, that of La Poer, now held by the Marquess of Waterford. (Certain other baronies were originally created by writ but later confirmed by letters patent.)
Letters patent
More often, letters patent are used to create peerages. Letters patent must explicitly name the recipient of the title and specify the course of descent; the exact meaning of the term is determined by common law. For remainders in the Peerage of the United Kingdom, the most common wording is "to have and to hold unto him and the heirs male of his body lawfully begotten and to be begotten". Where the letters patent specifies the peer's heirs male of the body as successors, the rules of agnatic succession apply, meaning that succession is through the male line only. Some very old titles, like the Earldom of Arlington, may pass to heirs of the body (not just heirs-male), these follow the same rules of descent as do baronies by writ and seem able to fall into abeyance as well. Many Scottish titles allow for passage to heirs general of the body, in which case the rules of male primogeniture apply; they do not fall into abeyance, as under Scots law, sisters are not treated as equal co-heirs. English and British letters patent that do not specify a course of descent are invalid, though the same is not true for the letters patent creating peers in the Peerage of Scotland. The House of Lords has ruled in certain cases that when the course of descent is not specified, or when the letters patent are lost, the title descends to heirs-male.
Limitation to heirs of the body
It is generally necessary for English patents to include limitation to heirs "of the body", unless a special remainder is specified (see below). The limitation indicates that only lineal descendants of the original peer may succeed to the peerage. In some very rare instances, the limitation was left out. In the Devon Peerage Case (1831) 2 Dow & Cl 200, the House of Lords permitted an heir who was a collateral descendant of the original peer to take his seat. The precedent, however, was reversed in 1859, when the House of Lords decided in the Wiltes Peerage Case (1869) LR 4 HL 126 that a patent that did not include the words "of the body" would be held void.
Special remainder
It is possible for a patent to allow for succession by someone other than an heir-male or heir of the body, under a so-called special remainder. Several instances may be cited: the Barony of Nelson (to an elder brother and his heirs-male), the Earldom of Roberts (to a daughter and her heirs-male), the Barony of Amherst (to a nephew and his heirs-male) and the Dukedom of Dover (to a younger son and his heirs-male while the eldest son is still alive). In many cases, at the time of the grant the proposed peer in question had no sons, nor any prospect of producing any, and the special remainder was made to allow remembrance of his personal honour to continue after his death and to preclude an otherwise certain rapid extinction of the peerage. However, in all cases the course of descent specified in the patent must be known in common law. For instance, the Crown may not make a "shifting limitation" in the letters patent; in other words, the patent may not vest the peerage in an individual and then, before that person's death, shift the title to another person. The doctrine was established in the Buckhurst Peerage Case (1876) 2 App Cas 1, in which the House of Lords deemed invalid the clause intended to keep the Barony of Buckhurst separate from the Earldom of De La Warr (the invalidation of clause may not affect the validity of the letters patent itself). The patent stipulated that if the holder of the barony should ever inherit the earldom, then he would be deprived of the barony, which would instead pass to the next successor as if the deprived holder had died without issue.
Amendment of letters patent
Letters patent are not absolute; they may be amended or revoked by Act of Parliament. For example, Parliament amended the letters patent creating the Dukedom of Marlborough in 1706. The patent originally provided that the dukedom could be inherited by the heirs-male of the body of the first duke, Captain-General Sir John Churchill. One son had died in infancy and the other died in 1703 from smallpox. Under Parliament's amendment to the patent, designed to allow the famous general's honour to survive after his death, the dukedom was allowed to pass to the Duke's daughters; Lady Henrietta, the Countess of Sunderland, the Countess of Bridgewater and Lady Mary and their heirs-male - and thereafter "to all and every other the issue male and female, lineally descending of or from the said Duke of Marlborough, in such manner and for such estate as the same are before limited to the before-mentioned issue of the said Duke, it being intended that the said honours shall continue, remain, and be invested in all the issue of the said Duke, so long as any such issue male or female shall continue, and be held by them severally and successively in manner and form aforesaid, the elder and the descendants of every elder issue to be preferred before the younger of such issue."
Number of hereditary peers
The number of peers has varied considerably with time. At the end of the Wars of the Roses, which killed many peers, and degraded or attainted many others, there were only 29 Lords Temporal; but the population of England was also much . The Tudors doubled the number of Peers, creating many but executing others; at the death of Queen Elizabeth I, there were 59.
The number of peers then grew under the Stuarts and all later monarchs. By the time of Queen Anne's death in 1714, there were 168 peers. In 1712, Queen Anne was called upon to create 12 peers in one day in order to pass a government measure, more than Queen Elizabeth I had created during a 45-year reign.
Several peers were alarmed at the rapid increase in the size of the Peerage, fearing that their individual importance and power would decrease as the number of peers increased. Therefore, in 1719, a bill was introduced in the House of Lords to place a limitation on the Crown's power. It sought to permit no more than six new creations, and thereafter one new creation for each other title that became extinct. But it did allow the Crown to bestow titles on members of the Royal Family without any such limitation. The Bill was rejected in its final stage in the Lords, but it was passed in the Lords when it was reintroduced in the next year. Nonetheless, the House of Commons rejected the Peerage Bill by 269 to 177.
George III was especially profuse with the creation of titles, mainly due to the desire of some of his Prime Ministers to obtain a majority in the House of Lords. During his 12 years in power, Lord North had about 30 new peerages created. During William Pitt the Younger's 17-year tenure, over 140 new peerages were awarded.
A restriction on the creation of peerages, but only in the Peerage of Ireland, was enacted under the Acts of Union 1800 that combined Ireland and Great Britain into the United Kingdom in 1801. New creations were restricted to a maximum of one new Irish peerage for every three existing Irish peerages that became extinct, excluding those held concurrently with an English or British peerage; only if the total number of Irish peers dropped below 100 could the Sovereign create one new Irish peerage for each extinction.
There were no restrictions on creations in the Peerage of the United Kingdom. The Peerage continued to swell through the 19th century. In the 20th century, there were even more creations, as Prime Ministers were eager to secure majorities in the House of Lords. Peerages were handed out not to honour the recipient but to give him a seat in the House of Lords.
Current status
Since the start of the Labour government of Harold Wilson in 1964, the practice of granting hereditary peerages has largely ceased (except for members of the royal family). Only seven hereditary peers have been created since 1965: four in the Royal Family (the Duke of York, the Earl of Wessex, the Duke of Cambridge, and the Duke of Sussex) and three additional creations under Margaret Thatcher's government (the Viscount Whitelaw [had four daughters], the Viscount Tonypandy [had no issue] and the Earl of Stockton [with issue]). The two viscounts died without male heirs, extinguishing their titles. Harold Macmillan, 1st Earl of Stockton received the earldom customarily bestowed on former prime ministers after they retired from the House of Commons. The practice of granting hereditary titles (usually earldoms) to male commoners who married into the royal family appears to have also ended. The last such peerage was offered to Captain Mark Phillips, who declined. The most recent to accept was the Earl of Snowdon.
There is no statute that prevents the creation of new hereditary peerages; they may technically be created at any time, and the government continues to maintain pro forma letters patent for their creation. The most recent policies outlining the creation of new peerages, the Royal Warrant of 2004, explicitly apply to both hereditary and life peers. However, successive governments have largely disowned the practice, and the Royal Household website currently describes the Queen as the fount of honour for "life peerages, knighthoods and gallantry awards", with no mention of hereditary titles.
Roles
Until the coming into force of the Peerage Act 1963, peers could not disclaim their peerage in order to sit in the House of Commons, and thus a peerage was sometimes seen as an impediment to a future political career. The law changed due to an agreement that the Labour MP Tony Benn having been deprived of his seat due to an inadvertent inheritance was undemocratic; and the desire of the Conservatives to put their choice of Prime Minister (ultimately Alec Douglas-Home) into the House of Commons, which by that time was deemed politically necessary.
In 1999, the House of Lords Act abolished the automatic right of hereditary peers to sit in the House of Lords. Out of about 750 hereditary peers, only 92 may sit in the House of Lords. The Act provides that 90 of those 92 seats are to be elected by other members of the House: 15 by vote of the whole house (including life peers), 42 by the Conservative hereditary peers, two by the Labour hereditary peers, three by the Liberal Democrat hereditary peers, and 28 by the crossbench hereditary peers. Elections were held in October and November 1999 to choose those initial 90 peers, with all hereditary peers eligible to vote. Hereditary peers elected hold their seats until their death, resignation or exclusion for non-attendance (the latter two means introduced by the House of Lords Reform Act 2014), at which point by-elections are held to maintain the number at 92.
The remaining two hold their seats by right of the hereditary offices of Earl Marshal and Lord Great Chamberlain. These offices are hereditary in themselves, and in recent times have been held by the Dukes of Norfolk and the Marquesses of Cholmondeley respectively. These are the only two hereditary peers whose right to sit is automatic.
The Government reserves a number of political and ceremonial positions for hereditary peers. To encourage hereditary peers in the House of Lords to follow the party line, a number of Lords-in-Waiting (government whips) are usually hereditary peers. This practice was not adhered to by the Labour government of 1997–2010 due to the small number of Labour hereditary peers in the House of Lords.
Modern composition of the hereditary peerage
The peerage has traditionally been associated with high gentry, the British nobility, and in recent times, the Conservative Party. Only a tiny proportion of wealthy people are peers, but the peerage includes a few of the very wealthiest, such as Hugh Grosvenor (the Duke of Westminster) and Lord Salisbury. A few peers own one or more of England's largest estates passed down through inheritance, particularly those with medieval roots: until the late 19th century the dominant English and Scottish land division on death was primogeniture.
However, the proliferation of peerage creations in the late 19th century and the first half of the 20th century resulted in even minor political figures entering the ranks of the peerage; these included newspaper owners (e.g. Alfred Harmsworth) and trade union leaders (e.g. Walter Citrine). As a result, there are many hereditary peers who have taken up careers which do not fit traditional conceptions of aristocracy. For example, Arup Kumar Sinha, 6th Baron Sinha is a computer technician working for a travel agency; Matt Ridley, 5th Viscount Ridley, is a popular science writer; Timothy Bentinck, 12th Earl of Portland is an actor and plays David Archer in the BBC’s long-running radio soap opera, The Archers; and Peter St Clair-Erskine, 7th Earl of Rosslyn is a former Metropolitan Police Service Commander. The Earl of Longford was a socialist and prison reformer, while Tony Benn, who renounced his peerage as Viscount Stansgate (only for his son to reclaim the family title after his death) was a senior government minister (later a writer and orator) with left-wing policies.
Gender distribution
As the vast majority of hereditary peerages can only be inherited by men, the number of peeresses in their own right is very small; only 18 out of 758 hereditary peers by succession, or 2.2%, were female, as of 1992.
All female hereditary peers succeeding after 1980 have been to English or Scottish peerages originally created before 1700. Of the over 600 hereditary peerages created since 1900, only ten could be inherited by daughters of the original recipient, and none can be inherited by granddaughters or higher-order female descendants of the original recipient.
From 1963 (when female hereditary peers were allowed to enter the House of Lords) to 1999, there has been a total of 25 female hereditary peers.
Of those 92 currently sitting in the House of Lords, none are female, since the retirement of Margaret of Mar, 31st Countess of Mar in 2020. Originally there were five female peers elected under the House of Lords Act 1999 (all of them Crossbenchers), but all of these have since died or resigned, and no female has won a by-election to a vacant Lords seat since 1999.
A single female peer, the 29th Baroness Dacre, is listed in the "Register of Hereditary Peers" among about 200 male peers as willing to stand in by-elections, as of October 2020.
See also
List of hereditary baronies in the Peerage of the United Kingdom
List of hereditary peers elected to sit in the House of Lords under the House of Lords Act 1999
By-elections to the House of Lords
List of hereditary peers in the House of Lords by virtue of a life peerage
Substantive title
Writ of acceleration
Roll of the Peerage
The Hereditary Peerage Association
Notes
References
UK Legislation
External links
Kinship and descent
Peerages in the United Kingdom
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[
"SOSTAC is a marketing model developed by PR Smith in the 1990s and later formalized in his 1998 book Marketing Communications, the subsequent series of SOSTAC Guides to your Perfect Plan (2011) and the SOSTAC Guide to your Perfect Digital Marketing Plan (2020).\n\nIt is an acronym for Smith's six fundamental facets of marketing: situation, objectives, strategy, tactics, action and control.\n\nSOSTAC contains a general marketing strategy which can be applied in various commercial situations. It includes an in-depth SWOT analysis, which helps businesses get ready for marketing campaigns; the main difference is that SOSTAC also focuses on the implementation stages of the process, on marketing communications and now, digital marketing.\n\nThe structure of SOSTAC is a simple logic that builds on an in-depth Situation Analysis which informs subsequent decisions made about strategy and tactics. It is crystal clear logic enables better decision making and therefore better plans .\n\nMarketing experts have adapted SOSTAC to a number of specific situations, including direct marketing and electronic marketing. The steps in the process have also been adapted to the development of internet security systems and company business plans.\n\nSteps in SOSTAC\nSituation assesses where a business is presently (where are you now?).\nObjectives set the mission or goals for the business (where do you want to be?).\nStrategy is an overview of how to achieve the objectives (how do you get there?).\nTactics are the details of strategy (e.g. the marketing mix) (how exactly do we get there?)\nActions how do you ensure excellent execution of the plan. (what is our plan?)\nControl establishes how you know whether you are getting there (what do you monitor?).\n\nReferences\n\nExternal links\n SOSTAC Website\nwww.PRSmith.org\nPRSmithPerfectPlan4minutes\nPRSmithPefectPlan3minutes\n\nMarketing techniques",
"Follow Me! is a series of television programmes produced by Bayerischer Rundfunk and the BBC in the late 1970s to provide a crash course in the English language. It became popular in many overseas countries as a first introduction to English; in 1983, one hundred million people watched the show in China alone, featuring Kathy Flower.\n\nThe British actor Francis Matthews hosted and narrated the series.\n\nThe course consists of sixty lessons. Each lesson lasts from 12 to 15 minutes and covers a specific lexis. The lessons follow a consistent group of actors, with the relationships between their characters developing during the course.\n\nFollow Me! actors\n Francis Matthews\n Raymond Mason\n David Savile\n Ian Bamforth\n Keith Alexander\n Diane Mercer\n Jane Argyle\n Diana King\n Veronica Leigh\n Elaine Wells\n Danielle Cohn\n Lashawnda Bell\n\nEpisodes \n \"What's your name\"\n \"How are you\"\n \"Can you help me\"\n \"Left, right, straight ahead\"\n \"Where are they\"\n \"What's the time\"\n \"What's this What's that\"\n \"I like it very much\"\n \"Have you got any wine\"\n \"What are they doing\"\n \"Can I have your name, please\"\n \"What does she look like\"\n \"No smoking\"\n \"It's on the first floor\"\n \"Where's he gone\"\n \"Going away\"\n \"Buying things\"\n \"Why do you like it\"\n \"What do you need\"\n \"I sometimes work late\"\n \"Welcome to Britain\"\n \"Who's that\"\n \"What would you like to do\"\n \"How can I get there?\"\n \"Where is it\"\n \"What's the date\"\n \"Whose is it\"\n \"I enjoy it\"\n \"How many and how much\"\n \"What have you done\"\n \"Haven't we met before\"\n \"What did you say\"\n \"Please stop\"\n \"How can I get to Brightly\"\n \"Where can I get it\"\n \"There's a concert on Wednesday\"\n \"What's it like\"\n \"What do you think of him\"\n \"I need someone\"\n \"What were you doing\"\n \"What do you do\"\n \"What do you know about him\"\n \"You shouldn't do that\"\n \"I hope you enjoy your holiday\"\n \"Where can I see a football match\"\n \"When will it be ready\"\n \"Where did you go\"\n \"I think it's awful\"\n \"A room with a view\"\n \"You'll be ill\"\n \"I don't believe in strikes\"\n \"They look tired\"\n \"Would you like to\"\n \"Holiday plans\"\n \"The second shelf on the left\"\n \"When you are ready\"\n \"Tell them about Britain\"\n \"I liked everything\"\n \"Classical or modern\"\n \"Finale\"\n\nReferences \n\n BBC article about the series in China\n\nExternal links \n Follow Me – Beginner level \n Follow Me – Elementary level\n Follow Me – Intermediate level\n Follow Me – Advanced level\n\nAdult education television series\nEnglish-language education television programming"
] |
[
"Hereditary peer",
"Ranks and titles",
"What were some of the ranks?",
"in descending order of rank, duke, marquess, earl, viscount and baron;",
"How do you get a rank?",
"In the Scottish peerage, the lowest rank is lordship of Parliament, the male holder thereof being known as a lord of Parliament."
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C_5179aa5bd65c47c3b879d7b789f45b4d_1
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Are titles different from ranks?
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Are titles different from ranks in hereditary peer?
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Hereditary peer
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The ranks of the Peerage in most of the United Kingdom are, in descending order of rank, duke, marquess, earl, viscount and baron; the female equivalents are duchess, marchioness, countess, viscountess and baroness respectively. In the Scottish peerage, the lowest rank is lordship of Parliament, the male holder thereof being known as a lord of Parliament. A Scottish barony is a feudal rank, and not of the Peerage. The barony by tenure or feudal barony in England and Wales was similar to a Scottish feudal barony, in being hereditary, but is long obsolete, the last full summons of the English feudal barons to military service having occurred in 1327. The Tenures Abolition Act 1660 finally quashed any remaining doubt as to their continued status. Peerage dignities are created by the Sovereign by either writs of summons or letters patent. Under modern constitutional conventions, no peerage dignity, with the possible exception of those given to members of the Royal Family, would be created except upon the advice of the Prime Minister. Many peers hold more than one hereditary title; for example, the same individual may be a duke, an earl, a viscount and a baron by virtue of different peerages. If such a person is entitled to sit in the House of Lords, he still only has one vote. However, until the House of Lords Act 1999 it was possible for one of the peer's subsidiary titles to be passed to his heir before his death by means of a writ of acceleration, in which case the peer and his heir would have one vote each. Where this is not done, the heir may still use one of the father's subsidiary titles as a "courtesy title", but he is not considered a peer. CANNOTANSWER
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Many peers hold more than one hereditary title; for example, the same individual may be a duke, an earl, a viscount and a baron by virtue of different peerages.
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The hereditary peers form part of the peerage in the United Kingdom. As of November 2021, there are 809 hereditary peers: 30 dukes (including six royal dukes), 34 marquesses, 191 earls, 111 viscounts, and 443 barons (disregarding subsidiary titles).
Not all hereditary titles are titles of the peerage. For instance, baronets and baronetesses may pass on their titles, but they are not peers. Conversely, the holder of a non-hereditary title may belong to the peerage, as with life peers. Peerages may be created by means of letters patent, but the granting of new hereditary peerages has largely dwindled; only seven hereditary peerages have been created since 1965, four of them for members of the British royal family.
As a result of the Peerage Act 1963 all peers except those in the peerage of Ireland were entitled to sit in the House of Lords, but since the House of Lords Act 1999 came into force only 92 hereditary peers, elected by and from all hereditary peers, are permitted to do so, unless they are also life peers. Peers are called to the House of Lords with a writ of summons.
Origins
The hereditary peerage, as it now exists, combines several different English institutions with analogues from Scotland and Ireland.
English Earls are an Anglo-Saxon institution. Around 1014, England was divided into shires or counties, largely to defend against the Danes; each shire was led by a local great man, called an earl; the same man could be earl of several shires. When the Normans conquered England, they continued to appoint earls, but not for all counties; the administrative head of the county became the sheriff. Earldoms began as offices, with a perquisite of a share of the legal fees in the county; they gradually became honours, with a stipend of £20 a year. Like most feudal offices, earldoms were inherited, but the kings frequently asked earls to resign or exchange earldoms. Usually there were few Earls in England, and they were men of great wealth in the shire from which they held title, or an adjacent one, but it depended on circumstances: during the civil war between Stephen and the Empress Matilda, nine Earls were created in three years.
William the Conqueror and his great-grandson Henry II did not make Dukes; they were themselves only Dukes of Normandy or Aquitaine. But when Edward III of England declared himself King of France, he made his sons Dukes, to distinguish them from other noblemen, much as Royal Dukes are now distinguished from other Dukes. Later Kings created Marquesses and Viscounts to make finer gradations of honour: a rank something more than an Earl and something less than an Earl, respectively.
When Henry III or Edward I wanted money or advice from his subjects, he would order great churchmen, earls, and other great men to come to his Great Council (some of these are now considered the first parliaments); he would generally order lesser men from towns and counties to gather and pick some men to represent them. The English Order of Barons evolved from those men who were individually ordered to attend Parliament, but held no other title; the chosen representatives, on the other hand, became the House of Commons. This order, called a writ, was not originally hereditary, or even a privilege; the recipient had to come to the Great Council at his own expense, vote on taxes on himself and his neighbours, acknowledge that he was the king's tenant-in-chief (which might cost him special taxes), and risk involvement in royal politics – or a request from the king for a personal loan (benevolence). Which men were ordered to Council varied from Council to Council; a man might be so ordered once and never again, or all his life, but his son and heir might never go.
Under Henry VI of England, in the 15th century, just before the Wars of the Roses, attendance at Parliament became more valuable. The first claim of hereditary right to a writ comes from this reign; so does the first patent, or charter declaring a man to be a baron. The five orders began to be called peers. Holders of older peerages also began to receive greater honour than peers of the same rank just created.
If a man held a peerage, his son would succeed to it; if he had no children, his brother would succeed. If he had a single daughter, his son-in-law would inherit the family lands, and usually the same peerage; more complex cases were decided depending on circumstances. Customs changed with time; earldoms were the first to be hereditary, and three different rules can be traced for the case of an Earl who left no sons and several married daughters. In the 13th century, the husband of the eldest daughter inherited the earldom automatically; in the 15th century, the earldom reverted to the Crown, who might re-grant it (often to the eldest son-in-law); in the 17th century, it would not be inherited by anybody unless all but one of the daughters died and left no descendants, in which case the remaining daughter (or her heir) would inherit.
After Henry II became the Lord of Ireland, he and his successors began to imitate the English system as it was in their time. Irish earls were first created in the 13th century, and Irish parliaments began later in the same century; until Henry VIII declared himself King of Ireland, these parliaments were small bodies, representing only the Irish Pale. A writ does not create a peerage in Ireland; all Irish peerages are by patent or charter, although some early patents have been lost. After James II left England, he was King of Ireland alone for a time; three creations he ordered then are in the Irish Patent Roll, although the patents were never issued; but these are treated as valid.
The Irish peers were in a peculiar political position: because they were subjects of the King of England, but peers in a different kingdom, they could sit in the English House of Commons, and many did. In the 18th century, Irish peerages became rewards for English politicians, limited only by the concern that they might go to Dublin and interfere with the Irish Government.
Scotland evolved a similar system, differing in points of detail. The first Scottish Earldoms derive from the seven mormaers, of immemorial antiquity; they were named Earls by Queen Margaret. The Parliament of Scotland is as old as the English; the Scottish equivalent of baronies are called lordships of Parliament.
The Act of Union 1707, between England and Scotland, provided that future peerages should be peers of Great Britain, and the rules covering the peers should follow the English model; because there were proportionately many more Scottish peers, they chose a number of representatives to sit in the British House of Lords. The Acts of Union 1800 changed this to peers of the United Kingdom, but provided that Irish peerages could still be created; but the Irish peers were concerned that their honours would be diluted as cheap prizes, and insisted that an Irish peerage could be created only when three Irish peerages had gone extinct (until there were only a hundred Irish peers left). In the early 19th century, Irish creations were as frequent as this allowed; but only three have been created since 1863, and none since 1898. As of 2011, only 66 "only-Irish" peers remain.
Modern laws
The law applicable to a British hereditary peerage depends on which Kingdom it belongs to. Peerages of England, Great Britain, and the United Kingdom follow English law; the difference between them is that Peerages of England were created before the Act of Union 1707, Peerages of Great Britain between 1707 and the Union with Ireland in 1800, and Peerages of the United Kingdom since 1800. Irish Peerages follow the law of the Kingdom of Ireland, which is very much similar to English law, except in referring to the Irish Parliament and Irish officials, generally no longer appointed; no Irish peers have been created since 1898, and they have no part in the present governance of the United Kingdom. Scottish Peerage law is generally similar to English law, but differs in innumerable points of detail, often being more similar to medieval practice.
Women are ineligible to succeed to the majority of English, Irish, and British hereditary peerages, but may inherit certain English baronies by writ and Scottish peerages in the absence of a male heir.
Ranks and titles
The ranks of the Peerage in most of the United Kingdom are, in descending order of rank, duke, marquess, earl, viscount and baron; the female equivalents are duchess, marchioness, countess, viscountess and baroness respectively. Women typically do not hold hereditary titles in their own right, one exception being certain peerages in the Peerage of Scotland; one significant change to the status quo in England was in 1532 when Henry VIII created the Marquess of Pembroke title for his soon to be wife, Anne Boleyn. Anne held this title in her own right and was therefore ennobled with the same rank as a male Viscount.
In the Scottish peerage, the lowest rank is lordship of Parliament, the male holder thereof being known as a lord of Parliament.<ref name="DCA" A Scottish barony is a feudal rank, and not of the Peerage. The barony by tenure or feudal barony in England and Wales was similar to a Scottish feudal barony, in being hereditary, but is long obsolete, the last full summons of the English feudal barons to military service having occurred in 1327. The Tenures Abolition Act 1660 finally quashed any remaining doubt as to their continued status.
Peerage dignities are created by the sovereign by either writs of summons or letters patent. Under modern constitutional conventions, no peerage dignity, with the possible exception of those given to members of the Royal Family, would be created if not upon the advice of the prime minister.
Many peers hold more than one hereditary title; for example, the same individual may be a duke, a marquess, an earl, a viscount, and a baron by virtue of different peerages. If such a person is entitled to sit in the House of Lords, he still only has one vote. However, until the House of Lords Act 1999 it was possible for one of the peer's subsidiary titles to be passed to his heir before his death by means of a writ of acceleration, in which case the peer and his heir would have one vote each. Where this is not done, the heir may still use one of the father's subsidiary titles as a "courtesy title", but he is not considered a peer.
Inheritance of peerages
The mode of inheritance of a hereditary peerage is determined by the method of its creation. Titles may be created by writ of summons or by letters patent. The former is merely a summons of an individual to Parliament and does not explicitly confer a peerage; descent is always to the heirs of the body, male and female. The latter method explicitly creates a peerage and names the dignity in question. Letters patent may state the course of descent; usually, this is only to male heirs, but by a special remainder other descents can be specified. The Gender Recognition Act 2004 regulates acquired gender and provides that acquiring a new gender under the Act does not affect the descent of any peerage.
A child is deemed to be legitimate if its parents are married at the time of its birth or marry later; only legitimate children may succeed to a title, and furthermore, an English, Irish, or British (but not Scottish) peerage can only be inherited by a child born legitimate, not legitimated by a later marriage.
Normally, a peerage passes to the next holder on the death of the previous holder. However, Edward IV introduced a procedure known as a writ of acceleration, whereby it was possible for the eldest son of a peer holding more than one peerage to sit in the House of Lords by virtue of one of his father's subsidiary dignities.
A person who is a possible heir to a peerage is said to be "in remainder". A title becomes extinct (an opposite to extant, alive) when all possible heirs (as provided by the letters patent) have died out; i.e., there is nobody in remainder at the death of the holder. A title becomes dormant if nobody has claimed the title, or if no claim has been satisfactorily proven. A title goes into abeyance if there is more than one person equally entitled to be the holder.
In the past, peerages were sometimes forfeit or attainted under Acts of Parliament, most often as the result of treason on the part of the holder. The blood of an attainted peer was considered "corrupted", consequently his or her descendants could not inherit the title. If all descendants of the attainted peer were to die out, however, then an heir from another branch of the family not affected by the attainder could take the title. The Forfeiture Act 1870 abolished corruption of blood; instead of losing the peerage, a peer convicted of treason would be disqualified from sitting in Parliament for the period of imprisonment.
The Titles Deprivation Act 1917 permitted the Crown to suspend peerages if their holders had fought against the United Kingdom during the First World War. Guilt was to be determined by a committee of the Privy Council; either House of Parliament could reject the committee's report within 40 days of its presentation. In 1919, King George V issued an Order in Council suspending the Dukedom of Albany (together with its subsidiary peerages, the Earldom of Clarence and the Barony of Arklow), the Dukedom of Cumberland and Teviotdale (along with the Earldom of Armagh) and the Viscountcy of Taaffe (along with the Barony of Ballymote). Under the Titles Deprivation Act, the successors to the peerages may petition the Crown for a reinstatement of the titles; so far, none of them has chosen to do so (the Taaffe and Ballymote peerages would have become extinct in 1967).
Nothing prevents a British peerage from being held by a foreign citizen (although such peers cannot sit in the House of Lords, while the term foreign does not include Irish or Commonwealth citizens). Several descendants of George III were British peers and German subjects; the Lords Fairfax of Cameron were American citizens for several generations.
A peer may also disclaim a hereditary peerage under the Peerage Act 1963. To do so, the peer must deliver an instrument of disclaimer to the Lord Chancellor within 12 months of succeeding to the peerage, or, if under the age of 21 at the time of succession, within 12 months of becoming 21 years old. If, at the time of succession, the peer is a member of the House of Commons, then the instrument must be delivered within one month of succession; meanwhile, the peer may not sit or vote in the House of Commons. Prior to the House of Lords Act 1999, a hereditary peer could not disclaim a peerage after having applied for a writ of summons to Parliament; now, however, hereditary peers do not have the automatic right to a writ of summons to the House. Irish peerages may not be disclaimed. A peer who disclaims the peerage loses all titles, rights and privileges associated with the peerage; his wife or her husband is similarly affected. No further hereditary peerages may be conferred upon the person, but life peerages may be. The peerage remains without a holder until the death of the peer making the disclaimer, when it descends normally.
Merging in the Crown
A title held by someone who becomes monarch is said to merge in the Crown and therefore ceases to exist, because the Sovereign cannot hold a dignity from themselves.
The Dukedoms of Cornwall and of Rothesay, and the Earldom of Carrick, are special cases, which when not in use are said to lapse to the Crown: they are construed as existing, but held by no one, during such periods. These peerages are also special because they are never directly inherited. The Dukedom of Cornwall was held formerly by the eldest son of the King of England, and the Dukedom of Rothesay, the Earldom of Carrick, and certain non-peerage titles (Baron of Renfrew, Lord of the Isles and Prince and Great Steward of Scotland) by the eldest son of the King of Scotland. Since those titles have been united, the dukedoms and associated subsidiary titles are held by the eldest son of the monarch. In Scotland, the title Duke of Rothesay is used for life. In England and Northern Ireland, the title Duke of Cornwall is used until the heir apparent is created Prince of Wales. At the same time as the Principality is created, the Duke is also created Earl of Chester. The earldom is a special case, because it is not hereditary, instead revesting or merging in the Crown if the Prince succeeds to the Crown or predeceases the monarch: thus George III (then the grandson of the reigning monarch) was created Prince of Wales and Earl of Chester a month after the death of his father Frederick, Prince of Wales.
The Dukedom of Cornwall is associated with the Duchy of Cornwall; the former is a peerage dignity, while the latter is a private estate held by the Duke of Cornwall with certain privileges under the law. For example, the duchy is exempt from the provisions of the Town and County Planning Act 1990. Therefore, the planning laws of England and Wales do not apply to the duchy. This was evidenced in 2002 when Kerrier District Council objected to duchy plans to commence development on one of its properties. Income from the Duchy of Cornwall goes to the Duke of Cornwall, or, when there is no duke, to the Sovereign (but the money is then paid to the heir to the throne under the Sovereign Grant Act 2011). The duchy is now considered to be a private estate and conveys to the Prince of Wales the greater part of his income. The only other Duchy in the United Kingdom is the Duchy of Lancaster, which is also an estate rather than a peerage dignity. The Dukedom of Lancaster merged in the Crown when Henry of Monmouth, Duke of Lancaster became King Henry V. Nonetheless, the Duchy of Lancaster still continues to exist, theoretically run by the Chancellor of the Duchy of Lancaster, which is normally a sinecure position with no actual duties related to the Duchy, used to appoint a minister without portfolio. The Duchy of Lancaster is the inherited property that belongs personally to the monarch, rather than to the Crown. Thus, while income from the Crown Estate is turned over to the Exchequer in return for a civil list payment, the income from the Duchy forms a part of the Privy Purse, the personal funds of the Sovereign.
Writs of summons
At the beginning of each new parliament, each peer who has established his or her right to attend Parliament is issued a writ of summons. Without the writ, no peer may sit or vote in Parliament. The form of writs of summons has changed little over the centuries. It is established precedent that the sovereign may not deny writs of summons to qualified peers.
Baronies by writ
By modern English law, if a writ of summons was issued to a person who was not a peer, that person took his seat in Parliament, and the parliament was a parliament in the modern sense (including representatives of the Commons), that single writ created a barony, a perpetual peerage inheritable by male-preference primogeniture. This was not medieval practice, and it is doubtful whether any writ was ever issued with the intent of creating such a peerage. The last instance of a man being summoned by writ without already holding a peerage was under the early Tudors; the first clear decision that a single writ (as opposed to a long succession of writs) created a peerage was in Lord Abergavenny's case of 1610. The House of Lords Act 1999 also renders it doubtful that such a writ would now create a peer if one were now issued; however, this doctrine is applied retrospectively: if it can be shown that a writ was issued, that the recipient sat and that the council in question was a parliament, the Committee of Privileges of the House of Lords determines who is now entitled to the peerage as though modern law had always applied. Several such long-lost baronies were claimed in the 19th and 20th centuries, though the committee was not consistent on what constituted proof of a writ, what constituted proof of sitting, and which 13th-century assemblages were actually parliaments. Even a writ issued in error is held to create a peerage unless the writ was cancelled before the recipient took his seat; the cancellation was performed by the now obsolete writ of supersedeas.
Peerages created by writ of summons are presumed to be inheritable only by the recipient's heirs of the body. The House of Lords has settled such a presumption in several cases, including Lord Grey's Case (1640) Cro Cas 601, the Clifton Barony Case (1673), the Vaux Peerage Case (1837) 5 Cl & Fin 526, the Braye Peerage Case (1839) 6 Cl & Fin 757 and the Hastings Peerage Case (1841) 8 Cl & Fin 144. The meaning of heir of the body is determined by common law. Essentially, descent is by the rules of male primogeniture, a mechanism whereby normally, male descendants of the peer take precedence over female descendants, with children representing their deceased ancestors, and wherein the senior line of descent always takes precedence over the junior line per each gender. These rules, however, are amended by the proviso whereby sisters (and their heirs) are considered co-heirs; seniority of the line is irrelevant when succession is through a female line. In other words, no woman inherits because she is older than her sisters. If all of the co-heirs but one die, then the surviving co-heir succeeds to the title. Otherwise, the title remains abeyant until the sovereign "terminates" the abeyance in favour of one of the co-heirs. The termination of an abeyance is entirely at the discretion of the Crown.
A writ of acceleration is a type of writ of summons that enables the eldest son of a peer to attend the House of Lords using one of his father's subsidiary titles. The title is strictly not inherited by the eldest son, however; it remains vested in the father. A writ may be granted only if the title being accelerated is a subsidiary one, and not the main title, and if the beneficiary of the writ is the heir-apparent of the actual holder of the title. A total of ninety-four writs of acceleration have been issued since Edward IV issued the first one, including four writs issued in the twentieth century. The only individual who recently sat in the House of Lords by writ of acceleration is Viscount Cranborne in 1992, through the Barony of Cecil which was actually being held by his father, the Marquess of Salisbury. (Viscount Cranborne succeeded to the marquessate on the death of his father in 2003.)
There are no Scottish peerages created by writ; neither can Scottish baronies go into abeyance, for Scots law does not hold sisters as equal heirs regardless of age. Furthermore, there is only one extant barony by writ in the Peerage of Ireland, that of La Poer, now held by the Marquess of Waterford. (Certain other baronies were originally created by writ but later confirmed by letters patent.)
Letters patent
More often, letters patent are used to create peerages. Letters patent must explicitly name the recipient of the title and specify the course of descent; the exact meaning of the term is determined by common law. For remainders in the Peerage of the United Kingdom, the most common wording is "to have and to hold unto him and the heirs male of his body lawfully begotten and to be begotten". Where the letters patent specifies the peer's heirs male of the body as successors, the rules of agnatic succession apply, meaning that succession is through the male line only. Some very old titles, like the Earldom of Arlington, may pass to heirs of the body (not just heirs-male), these follow the same rules of descent as do baronies by writ and seem able to fall into abeyance as well. Many Scottish titles allow for passage to heirs general of the body, in which case the rules of male primogeniture apply; they do not fall into abeyance, as under Scots law, sisters are not treated as equal co-heirs. English and British letters patent that do not specify a course of descent are invalid, though the same is not true for the letters patent creating peers in the Peerage of Scotland. The House of Lords has ruled in certain cases that when the course of descent is not specified, or when the letters patent are lost, the title descends to heirs-male.
Limitation to heirs of the body
It is generally necessary for English patents to include limitation to heirs "of the body", unless a special remainder is specified (see below). The limitation indicates that only lineal descendants of the original peer may succeed to the peerage. In some very rare instances, the limitation was left out. In the Devon Peerage Case (1831) 2 Dow & Cl 200, the House of Lords permitted an heir who was a collateral descendant of the original peer to take his seat. The precedent, however, was reversed in 1859, when the House of Lords decided in the Wiltes Peerage Case (1869) LR 4 HL 126 that a patent that did not include the words "of the body" would be held void.
Special remainder
It is possible for a patent to allow for succession by someone other than an heir-male or heir of the body, under a so-called special remainder. Several instances may be cited: the Barony of Nelson (to an elder brother and his heirs-male), the Earldom of Roberts (to a daughter and her heirs-male), the Barony of Amherst (to a nephew and his heirs-male) and the Dukedom of Dover (to a younger son and his heirs-male while the eldest son is still alive). In many cases, at the time of the grant the proposed peer in question had no sons, nor any prospect of producing any, and the special remainder was made to allow remembrance of his personal honour to continue after his death and to preclude an otherwise certain rapid extinction of the peerage. However, in all cases the course of descent specified in the patent must be known in common law. For instance, the Crown may not make a "shifting limitation" in the letters patent; in other words, the patent may not vest the peerage in an individual and then, before that person's death, shift the title to another person. The doctrine was established in the Buckhurst Peerage Case (1876) 2 App Cas 1, in which the House of Lords deemed invalid the clause intended to keep the Barony of Buckhurst separate from the Earldom of De La Warr (the invalidation of clause may not affect the validity of the letters patent itself). The patent stipulated that if the holder of the barony should ever inherit the earldom, then he would be deprived of the barony, which would instead pass to the next successor as if the deprived holder had died without issue.
Amendment of letters patent
Letters patent are not absolute; they may be amended or revoked by Act of Parliament. For example, Parliament amended the letters patent creating the Dukedom of Marlborough in 1706. The patent originally provided that the dukedom could be inherited by the heirs-male of the body of the first duke, Captain-General Sir John Churchill. One son had died in infancy and the other died in 1703 from smallpox. Under Parliament's amendment to the patent, designed to allow the famous general's honour to survive after his death, the dukedom was allowed to pass to the Duke's daughters; Lady Henrietta, the Countess of Sunderland, the Countess of Bridgewater and Lady Mary and their heirs-male - and thereafter "to all and every other the issue male and female, lineally descending of or from the said Duke of Marlborough, in such manner and for such estate as the same are before limited to the before-mentioned issue of the said Duke, it being intended that the said honours shall continue, remain, and be invested in all the issue of the said Duke, so long as any such issue male or female shall continue, and be held by them severally and successively in manner and form aforesaid, the elder and the descendants of every elder issue to be preferred before the younger of such issue."
Number of hereditary peers
The number of peers has varied considerably with time. At the end of the Wars of the Roses, which killed many peers, and degraded or attainted many others, there were only 29 Lords Temporal; but the population of England was also much . The Tudors doubled the number of Peers, creating many but executing others; at the death of Queen Elizabeth I, there were 59.
The number of peers then grew under the Stuarts and all later monarchs. By the time of Queen Anne's death in 1714, there were 168 peers. In 1712, Queen Anne was called upon to create 12 peers in one day in order to pass a government measure, more than Queen Elizabeth I had created during a 45-year reign.
Several peers were alarmed at the rapid increase in the size of the Peerage, fearing that their individual importance and power would decrease as the number of peers increased. Therefore, in 1719, a bill was introduced in the House of Lords to place a limitation on the Crown's power. It sought to permit no more than six new creations, and thereafter one new creation for each other title that became extinct. But it did allow the Crown to bestow titles on members of the Royal Family without any such limitation. The Bill was rejected in its final stage in the Lords, but it was passed in the Lords when it was reintroduced in the next year. Nonetheless, the House of Commons rejected the Peerage Bill by 269 to 177.
George III was especially profuse with the creation of titles, mainly due to the desire of some of his Prime Ministers to obtain a majority in the House of Lords. During his 12 years in power, Lord North had about 30 new peerages created. During William Pitt the Younger's 17-year tenure, over 140 new peerages were awarded.
A restriction on the creation of peerages, but only in the Peerage of Ireland, was enacted under the Acts of Union 1800 that combined Ireland and Great Britain into the United Kingdom in 1801. New creations were restricted to a maximum of one new Irish peerage for every three existing Irish peerages that became extinct, excluding those held concurrently with an English or British peerage; only if the total number of Irish peers dropped below 100 could the Sovereign create one new Irish peerage for each extinction.
There were no restrictions on creations in the Peerage of the United Kingdom. The Peerage continued to swell through the 19th century. In the 20th century, there were even more creations, as Prime Ministers were eager to secure majorities in the House of Lords. Peerages were handed out not to honour the recipient but to give him a seat in the House of Lords.
Current status
Since the start of the Labour government of Harold Wilson in 1964, the practice of granting hereditary peerages has largely ceased (except for members of the royal family). Only seven hereditary peers have been created since 1965: four in the Royal Family (the Duke of York, the Earl of Wessex, the Duke of Cambridge, and the Duke of Sussex) and three additional creations under Margaret Thatcher's government (the Viscount Whitelaw [had four daughters], the Viscount Tonypandy [had no issue] and the Earl of Stockton [with issue]). The two viscounts died without male heirs, extinguishing their titles. Harold Macmillan, 1st Earl of Stockton received the earldom customarily bestowed on former prime ministers after they retired from the House of Commons. The practice of granting hereditary titles (usually earldoms) to male commoners who married into the royal family appears to have also ended. The last such peerage was offered to Captain Mark Phillips, who declined. The most recent to accept was the Earl of Snowdon.
There is no statute that prevents the creation of new hereditary peerages; they may technically be created at any time, and the government continues to maintain pro forma letters patent for their creation. The most recent policies outlining the creation of new peerages, the Royal Warrant of 2004, explicitly apply to both hereditary and life peers. However, successive governments have largely disowned the practice, and the Royal Household website currently describes the Queen as the fount of honour for "life peerages, knighthoods and gallantry awards", with no mention of hereditary titles.
Roles
Until the coming into force of the Peerage Act 1963, peers could not disclaim their peerage in order to sit in the House of Commons, and thus a peerage was sometimes seen as an impediment to a future political career. The law changed due to an agreement that the Labour MP Tony Benn having been deprived of his seat due to an inadvertent inheritance was undemocratic; and the desire of the Conservatives to put their choice of Prime Minister (ultimately Alec Douglas-Home) into the House of Commons, which by that time was deemed politically necessary.
In 1999, the House of Lords Act abolished the automatic right of hereditary peers to sit in the House of Lords. Out of about 750 hereditary peers, only 92 may sit in the House of Lords. The Act provides that 90 of those 92 seats are to be elected by other members of the House: 15 by vote of the whole house (including life peers), 42 by the Conservative hereditary peers, two by the Labour hereditary peers, three by the Liberal Democrat hereditary peers, and 28 by the crossbench hereditary peers. Elections were held in October and November 1999 to choose those initial 90 peers, with all hereditary peers eligible to vote. Hereditary peers elected hold their seats until their death, resignation or exclusion for non-attendance (the latter two means introduced by the House of Lords Reform Act 2014), at which point by-elections are held to maintain the number at 92.
The remaining two hold their seats by right of the hereditary offices of Earl Marshal and Lord Great Chamberlain. These offices are hereditary in themselves, and in recent times have been held by the Dukes of Norfolk and the Marquesses of Cholmondeley respectively. These are the only two hereditary peers whose right to sit is automatic.
The Government reserves a number of political and ceremonial positions for hereditary peers. To encourage hereditary peers in the House of Lords to follow the party line, a number of Lords-in-Waiting (government whips) are usually hereditary peers. This practice was not adhered to by the Labour government of 1997–2010 due to the small number of Labour hereditary peers in the House of Lords.
Modern composition of the hereditary peerage
The peerage has traditionally been associated with high gentry, the British nobility, and in recent times, the Conservative Party. Only a tiny proportion of wealthy people are peers, but the peerage includes a few of the very wealthiest, such as Hugh Grosvenor (the Duke of Westminster) and Lord Salisbury. A few peers own one or more of England's largest estates passed down through inheritance, particularly those with medieval roots: until the late 19th century the dominant English and Scottish land division on death was primogeniture.
However, the proliferation of peerage creations in the late 19th century and the first half of the 20th century resulted in even minor political figures entering the ranks of the peerage; these included newspaper owners (e.g. Alfred Harmsworth) and trade union leaders (e.g. Walter Citrine). As a result, there are many hereditary peers who have taken up careers which do not fit traditional conceptions of aristocracy. For example, Arup Kumar Sinha, 6th Baron Sinha is a computer technician working for a travel agency; Matt Ridley, 5th Viscount Ridley, is a popular science writer; Timothy Bentinck, 12th Earl of Portland is an actor and plays David Archer in the BBC’s long-running radio soap opera, The Archers; and Peter St Clair-Erskine, 7th Earl of Rosslyn is a former Metropolitan Police Service Commander. The Earl of Longford was a socialist and prison reformer, while Tony Benn, who renounced his peerage as Viscount Stansgate (only for his son to reclaim the family title after his death) was a senior government minister (later a writer and orator) with left-wing policies.
Gender distribution
As the vast majority of hereditary peerages can only be inherited by men, the number of peeresses in their own right is very small; only 18 out of 758 hereditary peers by succession, or 2.2%, were female, as of 1992.
All female hereditary peers succeeding after 1980 have been to English or Scottish peerages originally created before 1700. Of the over 600 hereditary peerages created since 1900, only ten could be inherited by daughters of the original recipient, and none can be inherited by granddaughters or higher-order female descendants of the original recipient.
From 1963 (when female hereditary peers were allowed to enter the House of Lords) to 1999, there has been a total of 25 female hereditary peers.
Of those 92 currently sitting in the House of Lords, none are female, since the retirement of Margaret of Mar, 31st Countess of Mar in 2020. Originally there were five female peers elected under the House of Lords Act 1999 (all of them Crossbenchers), but all of these have since died or resigned, and no female has won a by-election to a vacant Lords seat since 1999.
A single female peer, the 29th Baroness Dacre, is listed in the "Register of Hereditary Peers" among about 200 male peers as willing to stand in by-elections, as of October 2020.
See also
List of hereditary baronies in the Peerage of the United Kingdom
List of hereditary peers elected to sit in the House of Lords under the House of Lords Act 1999
By-elections to the House of Lords
List of hereditary peers in the House of Lords by virtue of a life peerage
Substantive title
Writ of acceleration
Roll of the Peerage
The Hereditary Peerage Association
Notes
References
UK Legislation
External links
Kinship and descent
Peerages in the United Kingdom
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"Navies have military rank systems that often are quite different from those of armies or air forces. Sometimes, services that are considered parts of the navy – marine or amphibious corps – use the army-style ranks instead, while the ranks listed here are reserved for fleets.\n\nNATO rank codes\nTo assist in the comparison of ranks in the armed forces of different countries, established NATO rank codes are used. These are established codes for determining the seniority of officer and other ranks in NATO countries for a particular joint task group or command structure, although specific appointments designate a higher level of seniority over other equivalent rank codes in a given situation. Officer ranks go from OF-1 (applying to all subaltern officers below (army) captain) up to OF-10; OF(D) being a special category for trainee officers awaiting a commission. Other ranks (those considered enlisted men in the United States forces) are classified from OR-1 to OR-9. Warrant officers in the United States forces are a special case as single track career specialists between the enlisted and officer ranks in terms of seniority, and have no NATO rank code. The system should not be confused with the pay grades used in the US military.\n\nWhile countries outside the NATO command structure (including some NATO member countries such as France) do not strictly fall into this classification structure and there may be incidences of overlap (particularly in ranks between countries) the codes still provide a useful gauge in determining what ranks are broadly equivalent.\n\nFlag officers \nThese are the highest ranks. Promotion to a rank above OF-9 is now rare and usually reserved for wartime. Fleet admiral is an example of such a rank.\n\nNote that there is doubt about rank equivalence in countries that have fleet admirals but no commodores, such as the former German Empire and Russia - often it is considered that in these countries a fleet admiral equates to an OF-9 rank, an admiral to OF-8, a vice admiral to OF-7, and a rear admiral to OF-6 (i.e. the ranks all move down one grade).\n\nThe Royal New Zealand Navy ranks of admiral and vice-admiral are generally only used in times of war.\n\nNote\n\nOther officers \nIn most navies, captain is the common address to commanding officers of a naval ship, regardless of their actual rank. As a rank, naval ranks of captain are almost always senior to army captains. Exceptions are the Polish Navy and the Republic of Singapore Navy, where \"captain\" refers to the same rank in the navy as in the army. In many navies, the concepts of army captain and ship's lieutenant are merged into the rank of \"captain-lieutenant\". Examples of this are Germany, Russia, Portugal, Denmark and Norway.\n\nCommon rank titles used are:\nOF-1(junior): Midshipman, acting sub-lieutenant, ensign, corvette lieutenant, ship-of-the-line ensign 2nd class.\nOF-1(senior): Sub-lieutenant, lieutenant (junior grade), frigate lieutenant, ship-of-the-line ensign 1st class.\nOF-2: Lieutenant, lieutenant (senior grade) ship-of-the-line lieutenant, captain-lieutenant.\nOF-3: Lieutenant-commander, corvette captain.\nOF-4: Commander, frigate captain.\nOF-5: Captain, ship-of-the-line captain, captain of sea and war.\n\nMany naval rank systems ultimately derive from either British, French or Spanish naval usage.\n\nGenerally speaking, naval ranks systems derived from French and Spanish usage use the names of different classes of ship (corvette, frigate, ship-of-the-line) in their rank titles. This is also the case in some other navies, e.g. two German naval ranks, those of \"corvette captain\" and \"frigate captain\".\n\nNaval rank systems derived from British usage use the rank \"captain\" exclusively for the highest rank of ship's captain (i.e. of the largest class of ship) and use the rank \"lieutenant\" exclusively for the highest rank of ship's lieutenant (i.e. of the largest class of ship). In such navies, the captains and lieutenants of smaller ships are therefore unlikely to have the naval rank of \"captain\" or \"lieutenant\" respectively; and furthermore a naval \"captain\" is therefore equivalent to an army colonel, and a naval \"lieutenant\" to an army captain. These naval ranks should not be confused with merchant navy ranks, where the rankings are based on department basis, although captain has the ultimate authority, followed by the chief engineer.\n\nSee also\nAir force officer ranks\nArmy officer ranks\nComparative military ranks\nStaff (military)\n\nReferences",
"is a Japanese women's professional shogi player ranked 3-dan.\n\nPromotion history\nHonda's promotion history is as follows.\n1992, April 1: 2-kyū\n1993, April 1: 1-kyū\n1999, April 1: 1-dan\n2004, May 19: 2-dan\n2012, September 26: 3-dan\n\nNote: All ranks are women's professional ranks.\n\nTitles and other championships\nHonda's only appearance in a women's major title match came in when she unsuccessfully challenged Momoko Katō for the 2nd title in 2012.\n\nReferences\n\nExternal links\n ShogiHub: Sayuri, Honda\n\nJapanese shogi players\nLiving people\nFemale professional shogi players\n1978 births\nPeople from Mito, Ibaraki\nProfessional shogi players from Ibaraki Prefecture"
] |
[
"Hereditary peer",
"Ranks and titles",
"What were some of the ranks?",
"in descending order of rank, duke, marquess, earl, viscount and baron;",
"How do you get a rank?",
"In the Scottish peerage, the lowest rank is lordship of Parliament, the male holder thereof being known as a lord of Parliament.",
"Are titles different from ranks?",
"Many peers hold more than one hereditary title; for example, the same individual may be a duke, an earl, a viscount and a baron by virtue of different peerages."
] |
C_5179aa5bd65c47c3b879d7b789f45b4d_1
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Are there other titles or ranks?
| 4 |
Are there other titles or ranks of hereditary peer other than duke, marquess, earl, viscount, and baron?
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Hereditary peer
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The ranks of the Peerage in most of the United Kingdom are, in descending order of rank, duke, marquess, earl, viscount and baron; the female equivalents are duchess, marchioness, countess, viscountess and baroness respectively. In the Scottish peerage, the lowest rank is lordship of Parliament, the male holder thereof being known as a lord of Parliament. A Scottish barony is a feudal rank, and not of the Peerage. The barony by tenure or feudal barony in England and Wales was similar to a Scottish feudal barony, in being hereditary, but is long obsolete, the last full summons of the English feudal barons to military service having occurred in 1327. The Tenures Abolition Act 1660 finally quashed any remaining doubt as to their continued status. Peerage dignities are created by the Sovereign by either writs of summons or letters patent. Under modern constitutional conventions, no peerage dignity, with the possible exception of those given to members of the Royal Family, would be created except upon the advice of the Prime Minister. Many peers hold more than one hereditary title; for example, the same individual may be a duke, an earl, a viscount and a baron by virtue of different peerages. If such a person is entitled to sit in the House of Lords, he still only has one vote. However, until the House of Lords Act 1999 it was possible for one of the peer's subsidiary titles to be passed to his heir before his death by means of a writ of acceleration, in which case the peer and his heir would have one vote each. Where this is not done, the heir may still use one of the father's subsidiary titles as a "courtesy title", but he is not considered a peer. CANNOTANSWER
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the female equivalents are duchess, marchioness, countess, viscountess and baroness respectively.
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The hereditary peers form part of the peerage in the United Kingdom. As of November 2021, there are 809 hereditary peers: 30 dukes (including six royal dukes), 34 marquesses, 191 earls, 111 viscounts, and 443 barons (disregarding subsidiary titles).
Not all hereditary titles are titles of the peerage. For instance, baronets and baronetesses may pass on their titles, but they are not peers. Conversely, the holder of a non-hereditary title may belong to the peerage, as with life peers. Peerages may be created by means of letters patent, but the granting of new hereditary peerages has largely dwindled; only seven hereditary peerages have been created since 1965, four of them for members of the British royal family.
As a result of the Peerage Act 1963 all peers except those in the peerage of Ireland were entitled to sit in the House of Lords, but since the House of Lords Act 1999 came into force only 92 hereditary peers, elected by and from all hereditary peers, are permitted to do so, unless they are also life peers. Peers are called to the House of Lords with a writ of summons.
Origins
The hereditary peerage, as it now exists, combines several different English institutions with analogues from Scotland and Ireland.
English Earls are an Anglo-Saxon institution. Around 1014, England was divided into shires or counties, largely to defend against the Danes; each shire was led by a local great man, called an earl; the same man could be earl of several shires. When the Normans conquered England, they continued to appoint earls, but not for all counties; the administrative head of the county became the sheriff. Earldoms began as offices, with a perquisite of a share of the legal fees in the county; they gradually became honours, with a stipend of £20 a year. Like most feudal offices, earldoms were inherited, but the kings frequently asked earls to resign or exchange earldoms. Usually there were few Earls in England, and they were men of great wealth in the shire from which they held title, or an adjacent one, but it depended on circumstances: during the civil war between Stephen and the Empress Matilda, nine Earls were created in three years.
William the Conqueror and his great-grandson Henry II did not make Dukes; they were themselves only Dukes of Normandy or Aquitaine. But when Edward III of England declared himself King of France, he made his sons Dukes, to distinguish them from other noblemen, much as Royal Dukes are now distinguished from other Dukes. Later Kings created Marquesses and Viscounts to make finer gradations of honour: a rank something more than an Earl and something less than an Earl, respectively.
When Henry III or Edward I wanted money or advice from his subjects, he would order great churchmen, earls, and other great men to come to his Great Council (some of these are now considered the first parliaments); he would generally order lesser men from towns and counties to gather and pick some men to represent them. The English Order of Barons evolved from those men who were individually ordered to attend Parliament, but held no other title; the chosen representatives, on the other hand, became the House of Commons. This order, called a writ, was not originally hereditary, or even a privilege; the recipient had to come to the Great Council at his own expense, vote on taxes on himself and his neighbours, acknowledge that he was the king's tenant-in-chief (which might cost him special taxes), and risk involvement in royal politics – or a request from the king for a personal loan (benevolence). Which men were ordered to Council varied from Council to Council; a man might be so ordered once and never again, or all his life, but his son and heir might never go.
Under Henry VI of England, in the 15th century, just before the Wars of the Roses, attendance at Parliament became more valuable. The first claim of hereditary right to a writ comes from this reign; so does the first patent, or charter declaring a man to be a baron. The five orders began to be called peers. Holders of older peerages also began to receive greater honour than peers of the same rank just created.
If a man held a peerage, his son would succeed to it; if he had no children, his brother would succeed. If he had a single daughter, his son-in-law would inherit the family lands, and usually the same peerage; more complex cases were decided depending on circumstances. Customs changed with time; earldoms were the first to be hereditary, and three different rules can be traced for the case of an Earl who left no sons and several married daughters. In the 13th century, the husband of the eldest daughter inherited the earldom automatically; in the 15th century, the earldom reverted to the Crown, who might re-grant it (often to the eldest son-in-law); in the 17th century, it would not be inherited by anybody unless all but one of the daughters died and left no descendants, in which case the remaining daughter (or her heir) would inherit.
After Henry II became the Lord of Ireland, he and his successors began to imitate the English system as it was in their time. Irish earls were first created in the 13th century, and Irish parliaments began later in the same century; until Henry VIII declared himself King of Ireland, these parliaments were small bodies, representing only the Irish Pale. A writ does not create a peerage in Ireland; all Irish peerages are by patent or charter, although some early patents have been lost. After James II left England, he was King of Ireland alone for a time; three creations he ordered then are in the Irish Patent Roll, although the patents were never issued; but these are treated as valid.
The Irish peers were in a peculiar political position: because they were subjects of the King of England, but peers in a different kingdom, they could sit in the English House of Commons, and many did. In the 18th century, Irish peerages became rewards for English politicians, limited only by the concern that they might go to Dublin and interfere with the Irish Government.
Scotland evolved a similar system, differing in points of detail. The first Scottish Earldoms derive from the seven mormaers, of immemorial antiquity; they were named Earls by Queen Margaret. The Parliament of Scotland is as old as the English; the Scottish equivalent of baronies are called lordships of Parliament.
The Act of Union 1707, between England and Scotland, provided that future peerages should be peers of Great Britain, and the rules covering the peers should follow the English model; because there were proportionately many more Scottish peers, they chose a number of representatives to sit in the British House of Lords. The Acts of Union 1800 changed this to peers of the United Kingdom, but provided that Irish peerages could still be created; but the Irish peers were concerned that their honours would be diluted as cheap prizes, and insisted that an Irish peerage could be created only when three Irish peerages had gone extinct (until there were only a hundred Irish peers left). In the early 19th century, Irish creations were as frequent as this allowed; but only three have been created since 1863, and none since 1898. As of 2011, only 66 "only-Irish" peers remain.
Modern laws
The law applicable to a British hereditary peerage depends on which Kingdom it belongs to. Peerages of England, Great Britain, and the United Kingdom follow English law; the difference between them is that Peerages of England were created before the Act of Union 1707, Peerages of Great Britain between 1707 and the Union with Ireland in 1800, and Peerages of the United Kingdom since 1800. Irish Peerages follow the law of the Kingdom of Ireland, which is very much similar to English law, except in referring to the Irish Parliament and Irish officials, generally no longer appointed; no Irish peers have been created since 1898, and they have no part in the present governance of the United Kingdom. Scottish Peerage law is generally similar to English law, but differs in innumerable points of detail, often being more similar to medieval practice.
Women are ineligible to succeed to the majority of English, Irish, and British hereditary peerages, but may inherit certain English baronies by writ and Scottish peerages in the absence of a male heir.
Ranks and titles
The ranks of the Peerage in most of the United Kingdom are, in descending order of rank, duke, marquess, earl, viscount and baron; the female equivalents are duchess, marchioness, countess, viscountess and baroness respectively. Women typically do not hold hereditary titles in their own right, one exception being certain peerages in the Peerage of Scotland; one significant change to the status quo in England was in 1532 when Henry VIII created the Marquess of Pembroke title for his soon to be wife, Anne Boleyn. Anne held this title in her own right and was therefore ennobled with the same rank as a male Viscount.
In the Scottish peerage, the lowest rank is lordship of Parliament, the male holder thereof being known as a lord of Parliament.<ref name="DCA" A Scottish barony is a feudal rank, and not of the Peerage. The barony by tenure or feudal barony in England and Wales was similar to a Scottish feudal barony, in being hereditary, but is long obsolete, the last full summons of the English feudal barons to military service having occurred in 1327. The Tenures Abolition Act 1660 finally quashed any remaining doubt as to their continued status.
Peerage dignities are created by the sovereign by either writs of summons or letters patent. Under modern constitutional conventions, no peerage dignity, with the possible exception of those given to members of the Royal Family, would be created if not upon the advice of the prime minister.
Many peers hold more than one hereditary title; for example, the same individual may be a duke, a marquess, an earl, a viscount, and a baron by virtue of different peerages. If such a person is entitled to sit in the House of Lords, he still only has one vote. However, until the House of Lords Act 1999 it was possible for one of the peer's subsidiary titles to be passed to his heir before his death by means of a writ of acceleration, in which case the peer and his heir would have one vote each. Where this is not done, the heir may still use one of the father's subsidiary titles as a "courtesy title", but he is not considered a peer.
Inheritance of peerages
The mode of inheritance of a hereditary peerage is determined by the method of its creation. Titles may be created by writ of summons or by letters patent. The former is merely a summons of an individual to Parliament and does not explicitly confer a peerage; descent is always to the heirs of the body, male and female. The latter method explicitly creates a peerage and names the dignity in question. Letters patent may state the course of descent; usually, this is only to male heirs, but by a special remainder other descents can be specified. The Gender Recognition Act 2004 regulates acquired gender and provides that acquiring a new gender under the Act does not affect the descent of any peerage.
A child is deemed to be legitimate if its parents are married at the time of its birth or marry later; only legitimate children may succeed to a title, and furthermore, an English, Irish, or British (but not Scottish) peerage can only be inherited by a child born legitimate, not legitimated by a later marriage.
Normally, a peerage passes to the next holder on the death of the previous holder. However, Edward IV introduced a procedure known as a writ of acceleration, whereby it was possible for the eldest son of a peer holding more than one peerage to sit in the House of Lords by virtue of one of his father's subsidiary dignities.
A person who is a possible heir to a peerage is said to be "in remainder". A title becomes extinct (an opposite to extant, alive) when all possible heirs (as provided by the letters patent) have died out; i.e., there is nobody in remainder at the death of the holder. A title becomes dormant if nobody has claimed the title, or if no claim has been satisfactorily proven. A title goes into abeyance if there is more than one person equally entitled to be the holder.
In the past, peerages were sometimes forfeit or attainted under Acts of Parliament, most often as the result of treason on the part of the holder. The blood of an attainted peer was considered "corrupted", consequently his or her descendants could not inherit the title. If all descendants of the attainted peer were to die out, however, then an heir from another branch of the family not affected by the attainder could take the title. The Forfeiture Act 1870 abolished corruption of blood; instead of losing the peerage, a peer convicted of treason would be disqualified from sitting in Parliament for the period of imprisonment.
The Titles Deprivation Act 1917 permitted the Crown to suspend peerages if their holders had fought against the United Kingdom during the First World War. Guilt was to be determined by a committee of the Privy Council; either House of Parliament could reject the committee's report within 40 days of its presentation. In 1919, King George V issued an Order in Council suspending the Dukedom of Albany (together with its subsidiary peerages, the Earldom of Clarence and the Barony of Arklow), the Dukedom of Cumberland and Teviotdale (along with the Earldom of Armagh) and the Viscountcy of Taaffe (along with the Barony of Ballymote). Under the Titles Deprivation Act, the successors to the peerages may petition the Crown for a reinstatement of the titles; so far, none of them has chosen to do so (the Taaffe and Ballymote peerages would have become extinct in 1967).
Nothing prevents a British peerage from being held by a foreign citizen (although such peers cannot sit in the House of Lords, while the term foreign does not include Irish or Commonwealth citizens). Several descendants of George III were British peers and German subjects; the Lords Fairfax of Cameron were American citizens for several generations.
A peer may also disclaim a hereditary peerage under the Peerage Act 1963. To do so, the peer must deliver an instrument of disclaimer to the Lord Chancellor within 12 months of succeeding to the peerage, or, if under the age of 21 at the time of succession, within 12 months of becoming 21 years old. If, at the time of succession, the peer is a member of the House of Commons, then the instrument must be delivered within one month of succession; meanwhile, the peer may not sit or vote in the House of Commons. Prior to the House of Lords Act 1999, a hereditary peer could not disclaim a peerage after having applied for a writ of summons to Parliament; now, however, hereditary peers do not have the automatic right to a writ of summons to the House. Irish peerages may not be disclaimed. A peer who disclaims the peerage loses all titles, rights and privileges associated with the peerage; his wife or her husband is similarly affected. No further hereditary peerages may be conferred upon the person, but life peerages may be. The peerage remains without a holder until the death of the peer making the disclaimer, when it descends normally.
Merging in the Crown
A title held by someone who becomes monarch is said to merge in the Crown and therefore ceases to exist, because the Sovereign cannot hold a dignity from themselves.
The Dukedoms of Cornwall and of Rothesay, and the Earldom of Carrick, are special cases, which when not in use are said to lapse to the Crown: they are construed as existing, but held by no one, during such periods. These peerages are also special because they are never directly inherited. The Dukedom of Cornwall was held formerly by the eldest son of the King of England, and the Dukedom of Rothesay, the Earldom of Carrick, and certain non-peerage titles (Baron of Renfrew, Lord of the Isles and Prince and Great Steward of Scotland) by the eldest son of the King of Scotland. Since those titles have been united, the dukedoms and associated subsidiary titles are held by the eldest son of the monarch. In Scotland, the title Duke of Rothesay is used for life. In England and Northern Ireland, the title Duke of Cornwall is used until the heir apparent is created Prince of Wales. At the same time as the Principality is created, the Duke is also created Earl of Chester. The earldom is a special case, because it is not hereditary, instead revesting or merging in the Crown if the Prince succeeds to the Crown or predeceases the monarch: thus George III (then the grandson of the reigning monarch) was created Prince of Wales and Earl of Chester a month after the death of his father Frederick, Prince of Wales.
The Dukedom of Cornwall is associated with the Duchy of Cornwall; the former is a peerage dignity, while the latter is a private estate held by the Duke of Cornwall with certain privileges under the law. For example, the duchy is exempt from the provisions of the Town and County Planning Act 1990. Therefore, the planning laws of England and Wales do not apply to the duchy. This was evidenced in 2002 when Kerrier District Council objected to duchy plans to commence development on one of its properties. Income from the Duchy of Cornwall goes to the Duke of Cornwall, or, when there is no duke, to the Sovereign (but the money is then paid to the heir to the throne under the Sovereign Grant Act 2011). The duchy is now considered to be a private estate and conveys to the Prince of Wales the greater part of his income. The only other Duchy in the United Kingdom is the Duchy of Lancaster, which is also an estate rather than a peerage dignity. The Dukedom of Lancaster merged in the Crown when Henry of Monmouth, Duke of Lancaster became King Henry V. Nonetheless, the Duchy of Lancaster still continues to exist, theoretically run by the Chancellor of the Duchy of Lancaster, which is normally a sinecure position with no actual duties related to the Duchy, used to appoint a minister without portfolio. The Duchy of Lancaster is the inherited property that belongs personally to the monarch, rather than to the Crown. Thus, while income from the Crown Estate is turned over to the Exchequer in return for a civil list payment, the income from the Duchy forms a part of the Privy Purse, the personal funds of the Sovereign.
Writs of summons
At the beginning of each new parliament, each peer who has established his or her right to attend Parliament is issued a writ of summons. Without the writ, no peer may sit or vote in Parliament. The form of writs of summons has changed little over the centuries. It is established precedent that the sovereign may not deny writs of summons to qualified peers.
Baronies by writ
By modern English law, if a writ of summons was issued to a person who was not a peer, that person took his seat in Parliament, and the parliament was a parliament in the modern sense (including representatives of the Commons), that single writ created a barony, a perpetual peerage inheritable by male-preference primogeniture. This was not medieval practice, and it is doubtful whether any writ was ever issued with the intent of creating such a peerage. The last instance of a man being summoned by writ without already holding a peerage was under the early Tudors; the first clear decision that a single writ (as opposed to a long succession of writs) created a peerage was in Lord Abergavenny's case of 1610. The House of Lords Act 1999 also renders it doubtful that such a writ would now create a peer if one were now issued; however, this doctrine is applied retrospectively: if it can be shown that a writ was issued, that the recipient sat and that the council in question was a parliament, the Committee of Privileges of the House of Lords determines who is now entitled to the peerage as though modern law had always applied. Several such long-lost baronies were claimed in the 19th and 20th centuries, though the committee was not consistent on what constituted proof of a writ, what constituted proof of sitting, and which 13th-century assemblages were actually parliaments. Even a writ issued in error is held to create a peerage unless the writ was cancelled before the recipient took his seat; the cancellation was performed by the now obsolete writ of supersedeas.
Peerages created by writ of summons are presumed to be inheritable only by the recipient's heirs of the body. The House of Lords has settled such a presumption in several cases, including Lord Grey's Case (1640) Cro Cas 601, the Clifton Barony Case (1673), the Vaux Peerage Case (1837) 5 Cl & Fin 526, the Braye Peerage Case (1839) 6 Cl & Fin 757 and the Hastings Peerage Case (1841) 8 Cl & Fin 144. The meaning of heir of the body is determined by common law. Essentially, descent is by the rules of male primogeniture, a mechanism whereby normally, male descendants of the peer take precedence over female descendants, with children representing their deceased ancestors, and wherein the senior line of descent always takes precedence over the junior line per each gender. These rules, however, are amended by the proviso whereby sisters (and their heirs) are considered co-heirs; seniority of the line is irrelevant when succession is through a female line. In other words, no woman inherits because she is older than her sisters. If all of the co-heirs but one die, then the surviving co-heir succeeds to the title. Otherwise, the title remains abeyant until the sovereign "terminates" the abeyance in favour of one of the co-heirs. The termination of an abeyance is entirely at the discretion of the Crown.
A writ of acceleration is a type of writ of summons that enables the eldest son of a peer to attend the House of Lords using one of his father's subsidiary titles. The title is strictly not inherited by the eldest son, however; it remains vested in the father. A writ may be granted only if the title being accelerated is a subsidiary one, and not the main title, and if the beneficiary of the writ is the heir-apparent of the actual holder of the title. A total of ninety-four writs of acceleration have been issued since Edward IV issued the first one, including four writs issued in the twentieth century. The only individual who recently sat in the House of Lords by writ of acceleration is Viscount Cranborne in 1992, through the Barony of Cecil which was actually being held by his father, the Marquess of Salisbury. (Viscount Cranborne succeeded to the marquessate on the death of his father in 2003.)
There are no Scottish peerages created by writ; neither can Scottish baronies go into abeyance, for Scots law does not hold sisters as equal heirs regardless of age. Furthermore, there is only one extant barony by writ in the Peerage of Ireland, that of La Poer, now held by the Marquess of Waterford. (Certain other baronies were originally created by writ but later confirmed by letters patent.)
Letters patent
More often, letters patent are used to create peerages. Letters patent must explicitly name the recipient of the title and specify the course of descent; the exact meaning of the term is determined by common law. For remainders in the Peerage of the United Kingdom, the most common wording is "to have and to hold unto him and the heirs male of his body lawfully begotten and to be begotten". Where the letters patent specifies the peer's heirs male of the body as successors, the rules of agnatic succession apply, meaning that succession is through the male line only. Some very old titles, like the Earldom of Arlington, may pass to heirs of the body (not just heirs-male), these follow the same rules of descent as do baronies by writ and seem able to fall into abeyance as well. Many Scottish titles allow for passage to heirs general of the body, in which case the rules of male primogeniture apply; they do not fall into abeyance, as under Scots law, sisters are not treated as equal co-heirs. English and British letters patent that do not specify a course of descent are invalid, though the same is not true for the letters patent creating peers in the Peerage of Scotland. The House of Lords has ruled in certain cases that when the course of descent is not specified, or when the letters patent are lost, the title descends to heirs-male.
Limitation to heirs of the body
It is generally necessary for English patents to include limitation to heirs "of the body", unless a special remainder is specified (see below). The limitation indicates that only lineal descendants of the original peer may succeed to the peerage. In some very rare instances, the limitation was left out. In the Devon Peerage Case (1831) 2 Dow & Cl 200, the House of Lords permitted an heir who was a collateral descendant of the original peer to take his seat. The precedent, however, was reversed in 1859, when the House of Lords decided in the Wiltes Peerage Case (1869) LR 4 HL 126 that a patent that did not include the words "of the body" would be held void.
Special remainder
It is possible for a patent to allow for succession by someone other than an heir-male or heir of the body, under a so-called special remainder. Several instances may be cited: the Barony of Nelson (to an elder brother and his heirs-male), the Earldom of Roberts (to a daughter and her heirs-male), the Barony of Amherst (to a nephew and his heirs-male) and the Dukedom of Dover (to a younger son and his heirs-male while the eldest son is still alive). In many cases, at the time of the grant the proposed peer in question had no sons, nor any prospect of producing any, and the special remainder was made to allow remembrance of his personal honour to continue after his death and to preclude an otherwise certain rapid extinction of the peerage. However, in all cases the course of descent specified in the patent must be known in common law. For instance, the Crown may not make a "shifting limitation" in the letters patent; in other words, the patent may not vest the peerage in an individual and then, before that person's death, shift the title to another person. The doctrine was established in the Buckhurst Peerage Case (1876) 2 App Cas 1, in which the House of Lords deemed invalid the clause intended to keep the Barony of Buckhurst separate from the Earldom of De La Warr (the invalidation of clause may not affect the validity of the letters patent itself). The patent stipulated that if the holder of the barony should ever inherit the earldom, then he would be deprived of the barony, which would instead pass to the next successor as if the deprived holder had died without issue.
Amendment of letters patent
Letters patent are not absolute; they may be amended or revoked by Act of Parliament. For example, Parliament amended the letters patent creating the Dukedom of Marlborough in 1706. The patent originally provided that the dukedom could be inherited by the heirs-male of the body of the first duke, Captain-General Sir John Churchill. One son had died in infancy and the other died in 1703 from smallpox. Under Parliament's amendment to the patent, designed to allow the famous general's honour to survive after his death, the dukedom was allowed to pass to the Duke's daughters; Lady Henrietta, the Countess of Sunderland, the Countess of Bridgewater and Lady Mary and their heirs-male - and thereafter "to all and every other the issue male and female, lineally descending of or from the said Duke of Marlborough, in such manner and for such estate as the same are before limited to the before-mentioned issue of the said Duke, it being intended that the said honours shall continue, remain, and be invested in all the issue of the said Duke, so long as any such issue male or female shall continue, and be held by them severally and successively in manner and form aforesaid, the elder and the descendants of every elder issue to be preferred before the younger of such issue."
Number of hereditary peers
The number of peers has varied considerably with time. At the end of the Wars of the Roses, which killed many peers, and degraded or attainted many others, there were only 29 Lords Temporal; but the population of England was also much . The Tudors doubled the number of Peers, creating many but executing others; at the death of Queen Elizabeth I, there were 59.
The number of peers then grew under the Stuarts and all later monarchs. By the time of Queen Anne's death in 1714, there were 168 peers. In 1712, Queen Anne was called upon to create 12 peers in one day in order to pass a government measure, more than Queen Elizabeth I had created during a 45-year reign.
Several peers were alarmed at the rapid increase in the size of the Peerage, fearing that their individual importance and power would decrease as the number of peers increased. Therefore, in 1719, a bill was introduced in the House of Lords to place a limitation on the Crown's power. It sought to permit no more than six new creations, and thereafter one new creation for each other title that became extinct. But it did allow the Crown to bestow titles on members of the Royal Family without any such limitation. The Bill was rejected in its final stage in the Lords, but it was passed in the Lords when it was reintroduced in the next year. Nonetheless, the House of Commons rejected the Peerage Bill by 269 to 177.
George III was especially profuse with the creation of titles, mainly due to the desire of some of his Prime Ministers to obtain a majority in the House of Lords. During his 12 years in power, Lord North had about 30 new peerages created. During William Pitt the Younger's 17-year tenure, over 140 new peerages were awarded.
A restriction on the creation of peerages, but only in the Peerage of Ireland, was enacted under the Acts of Union 1800 that combined Ireland and Great Britain into the United Kingdom in 1801. New creations were restricted to a maximum of one new Irish peerage for every three existing Irish peerages that became extinct, excluding those held concurrently with an English or British peerage; only if the total number of Irish peers dropped below 100 could the Sovereign create one new Irish peerage for each extinction.
There were no restrictions on creations in the Peerage of the United Kingdom. The Peerage continued to swell through the 19th century. In the 20th century, there were even more creations, as Prime Ministers were eager to secure majorities in the House of Lords. Peerages were handed out not to honour the recipient but to give him a seat in the House of Lords.
Current status
Since the start of the Labour government of Harold Wilson in 1964, the practice of granting hereditary peerages has largely ceased (except for members of the royal family). Only seven hereditary peers have been created since 1965: four in the Royal Family (the Duke of York, the Earl of Wessex, the Duke of Cambridge, and the Duke of Sussex) and three additional creations under Margaret Thatcher's government (the Viscount Whitelaw [had four daughters], the Viscount Tonypandy [had no issue] and the Earl of Stockton [with issue]). The two viscounts died without male heirs, extinguishing their titles. Harold Macmillan, 1st Earl of Stockton received the earldom customarily bestowed on former prime ministers after they retired from the House of Commons. The practice of granting hereditary titles (usually earldoms) to male commoners who married into the royal family appears to have also ended. The last such peerage was offered to Captain Mark Phillips, who declined. The most recent to accept was the Earl of Snowdon.
There is no statute that prevents the creation of new hereditary peerages; they may technically be created at any time, and the government continues to maintain pro forma letters patent for their creation. The most recent policies outlining the creation of new peerages, the Royal Warrant of 2004, explicitly apply to both hereditary and life peers. However, successive governments have largely disowned the practice, and the Royal Household website currently describes the Queen as the fount of honour for "life peerages, knighthoods and gallantry awards", with no mention of hereditary titles.
Roles
Until the coming into force of the Peerage Act 1963, peers could not disclaim their peerage in order to sit in the House of Commons, and thus a peerage was sometimes seen as an impediment to a future political career. The law changed due to an agreement that the Labour MP Tony Benn having been deprived of his seat due to an inadvertent inheritance was undemocratic; and the desire of the Conservatives to put their choice of Prime Minister (ultimately Alec Douglas-Home) into the House of Commons, which by that time was deemed politically necessary.
In 1999, the House of Lords Act abolished the automatic right of hereditary peers to sit in the House of Lords. Out of about 750 hereditary peers, only 92 may sit in the House of Lords. The Act provides that 90 of those 92 seats are to be elected by other members of the House: 15 by vote of the whole house (including life peers), 42 by the Conservative hereditary peers, two by the Labour hereditary peers, three by the Liberal Democrat hereditary peers, and 28 by the crossbench hereditary peers. Elections were held in October and November 1999 to choose those initial 90 peers, with all hereditary peers eligible to vote. Hereditary peers elected hold their seats until their death, resignation or exclusion for non-attendance (the latter two means introduced by the House of Lords Reform Act 2014), at which point by-elections are held to maintain the number at 92.
The remaining two hold their seats by right of the hereditary offices of Earl Marshal and Lord Great Chamberlain. These offices are hereditary in themselves, and in recent times have been held by the Dukes of Norfolk and the Marquesses of Cholmondeley respectively. These are the only two hereditary peers whose right to sit is automatic.
The Government reserves a number of political and ceremonial positions for hereditary peers. To encourage hereditary peers in the House of Lords to follow the party line, a number of Lords-in-Waiting (government whips) are usually hereditary peers. This practice was not adhered to by the Labour government of 1997–2010 due to the small number of Labour hereditary peers in the House of Lords.
Modern composition of the hereditary peerage
The peerage has traditionally been associated with high gentry, the British nobility, and in recent times, the Conservative Party. Only a tiny proportion of wealthy people are peers, but the peerage includes a few of the very wealthiest, such as Hugh Grosvenor (the Duke of Westminster) and Lord Salisbury. A few peers own one or more of England's largest estates passed down through inheritance, particularly those with medieval roots: until the late 19th century the dominant English and Scottish land division on death was primogeniture.
However, the proliferation of peerage creations in the late 19th century and the first half of the 20th century resulted in even minor political figures entering the ranks of the peerage; these included newspaper owners (e.g. Alfred Harmsworth) and trade union leaders (e.g. Walter Citrine). As a result, there are many hereditary peers who have taken up careers which do not fit traditional conceptions of aristocracy. For example, Arup Kumar Sinha, 6th Baron Sinha is a computer technician working for a travel agency; Matt Ridley, 5th Viscount Ridley, is a popular science writer; Timothy Bentinck, 12th Earl of Portland is an actor and plays David Archer in the BBC’s long-running radio soap opera, The Archers; and Peter St Clair-Erskine, 7th Earl of Rosslyn is a former Metropolitan Police Service Commander. The Earl of Longford was a socialist and prison reformer, while Tony Benn, who renounced his peerage as Viscount Stansgate (only for his son to reclaim the family title after his death) was a senior government minister (later a writer and orator) with left-wing policies.
Gender distribution
As the vast majority of hereditary peerages can only be inherited by men, the number of peeresses in their own right is very small; only 18 out of 758 hereditary peers by succession, or 2.2%, were female, as of 1992.
All female hereditary peers succeeding after 1980 have been to English or Scottish peerages originally created before 1700. Of the over 600 hereditary peerages created since 1900, only ten could be inherited by daughters of the original recipient, and none can be inherited by granddaughters or higher-order female descendants of the original recipient.
From 1963 (when female hereditary peers were allowed to enter the House of Lords) to 1999, there has been a total of 25 female hereditary peers.
Of those 92 currently sitting in the House of Lords, none are female, since the retirement of Margaret of Mar, 31st Countess of Mar in 2020. Originally there were five female peers elected under the House of Lords Act 1999 (all of them Crossbenchers), but all of these have since died or resigned, and no female has won a by-election to a vacant Lords seat since 1999.
A single female peer, the 29th Baroness Dacre, is listed in the "Register of Hereditary Peers" among about 200 male peers as willing to stand in by-elections, as of October 2020.
See also
List of hereditary baronies in the Peerage of the United Kingdom
List of hereditary peers elected to sit in the House of Lords under the House of Lords Act 1999
By-elections to the House of Lords
List of hereditary peers in the House of Lords by virtue of a life peerage
Substantive title
Writ of acceleration
Roll of the Peerage
The Hereditary Peerage Association
Notes
References
UK Legislation
External links
Kinship and descent
Peerages in the United Kingdom
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[
"This is a glossary of historical Romanian ranks and titles used in the principalities of Moldavia, Wallachia and Transylvania, and later in Romania. Many of these titles are of Slavic etymology, with some of Greek, Latin, and Turkish etymology; several are original (such as armaș, paharnic, jitnicer and vistiernic). Various boier titles correspond to various honorary services at the Court, but often they were associated with various actual governmental duties as well.\n\nMare (Romanian), vel (Slavic) or baș (Turkish) are composing parts used with other titles. Synonymous with the Byzantine \"Megas\", they precede a title or rank: Mare Vornic, Mare Stolnic, Vel Paharnic, Vel Pitar, Vel Logofăt, Baș Boier, etc.\n\nMiddle Ages (1330/1359 — 1711/1716)\n\nPhanariote era (1711/1716 — 1821)\n\nSee also\n Boyars of Wallachia and Moldavia\n Historical Romanian taxes\n\nReferences\n\nTitles\nRanks and titles\n \nRomanian language\nGovernment of the Principality of Wallachia",
"The Taiping Heavenly Kingdom developed a complicated peerage system for noble ranks.\n\nKing/Prince \nWang (王, lit. \"king\" or \"prince\") was the highest title of nobility, often hereditary, ranked just below the Heavenly King. There were five ranks of wang:\n\nNon-hereditary nobility ranks \nBelow the king or prince, there were six ranks of nobility () in Taiping Heavenly Kingdom: E (義 Yì), An (安 Ān), Fu (福 Fú), Yen (燕 Yān), Yü (豫 Yù) and Hou (侯 Hóu). The nobility titles were not hereditary.\n\nE and An were most highest ranks of the nobility, once they were very noble titles of the Taiping Heavenly Kingdom. If the Heavenly King wanted to promote someone, he gave the person either E or An. However, this rule was challenged after 1860 because the nobility titles had been given too freely.\n\nNotable people \nChen Yucheng was titled Cheng Tian Yi (成天義) in 1857\nLiang Chengfu was titled Zeng Tian Yi (則天義) in 1860\nTan Shaoguang was titled Jian Tian Yi (建天義) in 1861\nYe Yenlai was titled Sho Tian An (受天安) in 1857\nHong Rengan was titled Gan Tian Fu (干天福) in 1859\nQin Rigang was titled Ding Tian Yan (頂天燕) in 1856\n was titled Hu Tian Yu (護天豫) in 1854\n\nSee also \n Royal and noble ranks of the Qing dynasty\n\nNotes\n\nReferences \n\nChinese nobility\nTaiping Rebellion"
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"Keane (band)",
"1995-99: Early years and formation"
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C_565f3a357e82409b844e44a9d84ca926_1
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What happen in 1995
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What happen in 1995 to Keane?
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Keane (band)
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Tom Chaplin and Tim Rice-Oxley became friends when very young. Chaplin's father David was the headmaster of Vinehall School in Robertsbridge, East Sussex, (owned by Chaplin's family) for 25 years, the school all three attended until the age of 13. They later attended Tonbridge School in Kent, where Rice-Oxley met Dominic Scott; both of them discovered rapidly their liking for music. Richard Hughes, Keane's future drummer, also attended Tonbridge. Chaplin had also learned to play the flute but none of them considered music as a proper career at the time. In 1995, while studying at University College London for a degree in classics, Rice-Oxley formed a rock band with Scott, and invited Hughes to play drums. The band, named "Lotus Eaters", started as a cover band, playing songs by the members' favourite bands, including U2, Oasis, and The Beatles, and rehearsing at home. After listening to Rice-Oxley's piano playing during a weekend at Virginia Water, Surrey in 1997, Chris Martin invited him to join his newly formed band Coldplay. However, Rice-Oxley declined because he did not want to leave "The Lotus Eaters", stating, "I was seriously interested, but Keane were already operational and Coldplay's keyboard player idea was dropped." Because of Martin's offer, and although Hughes and Scott were originally opposed to it, Chaplin joined the band in 1997, taking Rice-Oxley's place as vocalist and adding himself as the acoustic guitarist. Chaplin's recruitment also marked a change of name from "The Lotus Eaters" to "Cherry Keane", after a friend of Chaplin's mother, whom Rice-Oxley and Chaplin knew when they were young. She took care of them and would tell them to go for their dreams. At her death from cancer, she had left money for Chaplin's family. Chaplin commented: "I used some of the money to see me through the harder times with the music." The name was shortened to Keane soon afterward. Chaplin departed for South Africa in the summer of 1997 to work as a volunteer during his gap year. Chaplin's early experiences there would later be reflected in the band's position for the Make Poverty History campaign. Returning a year later, in July 1998, following a meeting with friend David Lloyd Seaman, Hughes' first words when the band picked up Chaplin at the airport were, "we've got a gig in ten days." With original material, Keane made their debut live appearance at the "Hope & Anchor" pub on 13 July 1998. In this same year, Chaplin went to Edinburgh University to study for a degree in art history. However, he later quit his degree and moved to London in order to pursue a full-time musical career with his friends. After their debut performance, the band went touring London's pub gig circuit throughout 1998 and 1999. CANNOTANSWER
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while studying at University College London for a degree in classics, Rice-Oxley formed a rock band with Scott, and invited Hughes to play drums.
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Keane are an English alternative rock band from Battle, East Sussex, formed in 1995. They met whilst at Tonbridge School together. The band currently comprises Tom Chaplin (lead vocals, electric/acoustic guitar), Tim Rice-Oxley (piano, synthesisers, bass guitar, backing vocals), Richard Hughes (drums, percussion, backing vocals), and Jesse Quin (bass guitar, acoustic/electric guitar, backing vocals). Their original line-up included founder and guitarist Dominic Scott, who left in 2001.
Keane achieved mainstream, international success with the release of their debut album Hopes and Fears in 2004. Topping the UK charts, the album won the 2005 Brit Award for Best British Album and was the second best-selling British album of 2004. It is one of the best-selling albums in UK chart history. Their second album, Under the Iron Sea, released in 2006, topped the UK album charts and debuted at number four on the US Billboard 200. Their third album Perfect Symmetry was released in October 2008.
In May 2008, both Hopes and Fears (number 13) and Under the Iron Sea (number 8) were voted by readers of Q magazine as among the best British albums ever, with Keane, The Beatles, Oasis and Radiohead the only artists having two albums in the top 20. In 2009, Hopes and Fears was listed as the ninth best-selling album of the 2000s decade in the UK. Their EP Night Train was released in May 2010. Their fourth studio album Strangeland was released in May 2012 and peaked at number one on the UK Albums Chart.
Keane are known for using keyboards as the lead instrument instead of guitar, differentiating them from most other rock bands. The inclusion of a distorted piano effect in 2006 and various synthesisers were a common feature in their music which developed on the second and third albums. Keane have sold over 13 million records worldwide.
After the release of their compilation album The Best of Keane in 2013, the band took a hiatus, lasting nearly 5 years.
The band returned after the hiatus with new music, announcing their fifth studio album titled Cause and Effect on 6 June 2019 and releasing the lead single from the album "The Way I Feel". A collection of the songs were written by Tim Rice-Oxley during his divorce, and after discussions with Tom who had visited Tim the previous year, decided to proceed with recording the songs for the album. Cause and Effect was released on 20 September 2019. After the release of the album, the band embarked on the Cause and Effect Tour, visiting Europe and Latin America, before the remainder of the tour was postponed due to the COVID-19 pandemic.
History
1995–99: Early years and formation
Tom Chaplin and Tim Rice-Oxley became friends when very young. Chaplin's father David was the headmaster of Vinehall School in Robertsbridge, East Sussex (owned by Chaplin's family) for 25 years, the school all three attended until the age of 13. They later attended Tonbridge School in Kent, where Rice-Oxley met Dominic Scott; both discovered their liking for music. Richard Hughes, Keane's future drummer, also attended Tonbridge. Chaplin had learned to play the flute, but none considered music as a proper career at the time.
In 1995, while studying at University College London, Rice-Oxley formed a rock band with Scott and invited Hughes to play drums. The band, named Lotus Eaters, started as a cover band, playing songs by the members' favourite bands, including U2, Oasis, and The Beatles, and rehearsing at home.
After listening to Rice-Oxley's piano playing during a weekend at Virginia Water, Surrey in 1997, Chris Martin invited him to join his newly formed band Coldplay. However, Rice-Oxley declined because he did not want to leave The Lotus Eaters, stating "I was seriously interested, but Keane were already operational and Coldplay's keyboard player idea was dropped." Because of Martin's offer, and although Hughes and Scott were originally opposed to it, Chaplin joined the band in 1997, taking Rice-Oxley's place as vocalist and adding himself as the acoustic guitarist. Chaplin's recruitment also marked a change of name from The Lotus Eaters to Cherry Keane after a friend of Chaplin's mother, whom Rice-Oxley and Chaplin knew when they were young. At her death from cancer, she had left money for Chaplin's family. Chaplin commented: "I used some of the money to see me through the harder times with the music." The name was shortened to Keane soon afterward.
Chaplin departed for South Africa in Summer 1997 to work as a volunteer during his gap year. Chaplin's early experiences there later were reflected in the band's position for the Make Poverty History campaign. Returning a year later, in July 1998, following a meeting with friend David Lloyd Seaman, Hughes' first words when the band picked up Chaplin at the airport were "we've got a gig in 10 days." With original material, Keane made their debut live appearance at the Hope & Anchor pub on 13 July 1998. In this same year, Chaplin went to Edinburgh University to study for a degree in art history] However, he later quit his degree and moved to London to pursue a full-time musical career. After their debut performance, the band went touring London's pub gig circuit throughout 1998 and 1999.
1999–2003: Early releases and Scott's departure
In late 1999, and without a record deal, Keane recorded their first promotional single "Call Me What You Like". Released on CD format through Keane's label Zoomorphic, it was sold after live performances at the pubs where Keane used to play in early 2000. Only 500 copies were printed. The band have declared they are not against fans sharing tracks unreleased on CD, such as the demos "More Matey" and "Emily". Chaplin has said "they most likely see those recordings as an interesting extra to get hold of and I don't see it causing any damage. If it was the album we have coming out leaked early, then I'd probably feel differently." The EP was reviewed by Bec Rodwell from eFestivals who listed "Closer Now" as the best song of the record.
Four months after the "Call Me What You Like" re-recording session in February 2001, "Wolf at the Door" was released. Only 50 copies are known to have been made, using unlabelled CD-Rs. Both singles are considered highly valuable collectors' items by fans. In particular, "Wolf at the Door" has been known to be sold for over £1000 on eBay.
Because of the limited success Keane had at this time, Scott decided to leave the group a month after this single was released to continue his studies at the LSE. Before this, in November 2000, Keane had been invited by record producer James Sanger to his recording studio at Les Essarts, France, where the band recorded a number of tracks from August to November 2001, including "Bedshaped" and "This Is the Last Time". It was during these sessions that the idea of using a piano as lead instrument began to emerge. Sanger received a shared credit for four songs that appeared on Keane's debut album Hopes and Fears, including the song "Sunshine", the only one composed there.
The remaining members of the band returned to England in November 2001. Soon after, they signed to BMG to publish their music, but at this time they did not yet have a recording contract. 2002 was a hard year for Keane. All recording or live performances were stopped, and Scott's feeling of going nowhere was starting to tell on Rice-Oxley and Chaplin.
In December 2002, Keane returned to performing live. Luckily for the band, one gig at the Betsey Trotwood in London was attended by Simon Williams of Fierce Panda Records, the same man who had discovered Coldplay years previously. Williams offered to release the first commercial single by the band. This release was "Everybody's Changing", which Steve Lamacq named single of the week on Lamacq Live on 19 April 2003; the CD single was released on 12 May 2003.
As a result of the attention created by this release and because of the strong live reputation they had built through constant UK touring, a bidding war for the band ensued among major record labels. The band decided to sign with Island Records in Summer 2003. After first being attracted to the band by the considerable industry buzz then surrounding them and from hearing "Everybody's Changing" on the radio, the Island A&R, Ferdy Unger-Hamilton, told HitQuarters that he wanted to sign them after hearing the five songs "Everybody’s Changing", "This Is the Last Time", "She Has No Time", "Bend and Break" and "Somewhere Only We Know", saying "every one of them was brilliant...they had a fantastic live show [but] even if I hadn't been able to see them live, I would have tried to sign them anyway." According to Unger-Hamilton, Keane chose to sign with Island because they got on well with the A&R and were convinced that he did not want to change them in any way.
The band released "This Is the Last Time" on Fierce Panda, in October 2003 as the final release on that label.
2004–05: Hopes and Fears
With the release of their first major single, Keane began to achieve recognition in the United Kingdom and the United States, where "This Is the Last Time" was released and remained as the only single sold there until "Crystal Ball" in late 2006.
In January 2004, Keane was named the band most likely to achieve success in the coming year in the BBC's Sound of 2004 poll; additionally, this year is popularly referred to as one of the best years for new British music.
A month later, Keane's first release on Island was "Somewhere Only We Know", which reached number three on the UK Singles Chart in February 2004. On 4 May, a re-release of "Everybody's Changing" followed and featured new cover and b-sides; it reached number four in the UK Singles Chart.
Keane's debut album Hopes and Fears was released on 10 May 2004 in the UK, a day before the band started their first world tour. It debuted at number one on the UK Albums Chart and became the second best-selling British album of the year. It has been certified 9x platinum in the UK.
Drowned in Sound gave it 5 out of 10, accusing Keane of excessively imitating Coldplay (specifically comparing "Your Eyes Open" and "On a Day Like Today" with, respectively, "Daylight" and "Politik" on the band's album A Rush of Blood to the Head), criticising the album as being "stylistically all over the place" and its lyrics as being "immature" and "cringe-worthy". However, it gave credit to the album's "fine moments", praising lead single "Somewhere Only We Know" as "breathtaking".
The album has sold approximately 5.5 million copies worldwide. In the UK, it stayed in the top 75 of the UK Albums Chart for 72 weeks, appearing again on its 115th week.
The band won two awards at the 2005 BRIT Awards in February; Best British album for Hopes and Fears, and the British breakthrough act award as voted for by listeners of BBC Radio 1. Three months after, Rice-Oxley received the Ivor Novello award for songwriter of the year.
As members of the Make Poverty History, Keane performed "Somewhere Only We Know" and "Bedshaped" at the Live 8 concert, which took place in London on 2 July 2005. Keane are also patrons of War Child, and in September 2005, they recorded a cover version of Elton John's "Goodbye Yellow Brick Road" to the charity album Help: a Day in the Life. Previously, the band had recorded a cover of the Walker Brothers' "The Sun Ain't Gonna Shine Anymore". It also was released as a 7" single as a gift to members of the Keane emailing list.
Twenty years after the 1984 version, Band Aid (now called Band Aid 20) recorded a new version of "Do They Know It's Christmas?". Rice-Oxley and Chaplin both contributed vocals.
During the year, the band achieved minor recognition in the U.S. from their extensive touring, which culminated with a series of gigs as the opening act for U2. The group were nominated for a Grammy Award in the Best New Artist category along with Sugarland, John Legend, Ciara, and Fall Out Boy.
2006–07: Under the Iron Sea
In April 2005, in the middle of the Hopes and Fears tour, the band began recording Under the Iron Sea with producer Andy Green, who worked with them on Hopes and Fears. The band later recruited Mark "Spike" Stent for mixing duties. Recording took place in Helioscentric Studios, where Hopes and Fears was recorded. Additional recording was done at The Magic Shop Studios in New York.
The album's release was preceded by the release of the "Atlantic", a download-only music video and the lead single "Is It Any Wonder?", which reached number three on the UK Singles Chart. The song was nominated for a Grammy Award for Best Pop Performance by a Duo or Group with Vocals in 2007. The album had a worldwide release in June 2006 and was at number 1 in the UK Albums Chart for the first two weeks of its release. , it had sold more than 2.2 million copies. The third single from the album was "Crystal Ball", released on 21 August 2006, and reached number 20 in the UK Singles Chart. The fourth single from the album was "Nothing in My Way", released on 30 October 2006, which received particular success on Mexican commercial radio, charting on Top 3 on 13 January 2007 and staying a month on that chart. The band released the single "The Night Sky" in aid of the charity War Child.
Before the release of the album (in May 2006), Keane had started their second world tour. However, because of the extensive touring, on 22 August 2006, Chaplin announced he had admitted himself to a clinic for drinking and drug problems. This initially resulted in the cancellation of three gigs and postponement of their September tour. The entire North American tour was cancelled outright to allow continued treatment. As a result, the upcoming UK and European tours, scheduled for October and November 2006, were considered to be liable for possible postponement depending on Chaplin's treatment. Chaplin then left the Priory Clinic in London on 6 October, but he continued to receive treatment. The tour reached for the first time South American countries (Argentina, Chile and Brazil) and saw the band's third visit to Mexico in late April with four dates, playing at the downtown zócalo in Mexico City, as well their first visit to Monterrey and Guadalajara. On 7 July 2007, Keane played at the UK leg of Live Earth at Wembley Stadium, part of a series of gigs similar to Live 8, to highlight the threat of global warming. They performed "Somewhere Only We Know", "Is It Any Wonder?" and "Bedshaped". The Under the Iron Sea tour was brought to an end with performances in Oporto, Portugal, and at the Natural Music Festival in El Ejido, Spain on 3 August and 4 respectively.
In 2008, Under the Iron Sea was voted the 8th best British album of all time by a poll conducted by Q Magazine and HMV. In early October, Concert Live announced they were releasing a limited edition nine-CD set of every Keane live performance in the UK during October 2006 under the name Live 06.
2008–09: Perfect Symmetry
In a March 2007 video interview, Chaplin and Hughes spoke of wanting to take a more "organic" approach on album three, but played down suggestions about the use of guitars, referring to them as "a fun part of the live set" at present; however, the cover of "She Sells Sanctuary" became the first song recorded since "The Happy Soldier" (2001) to feature the instrument. Photographic updates to the Keane website implied the use of guitars in the album's recording sessions. Jesse Quin joined the band since this album as permanent studio and live member. He plays the bass, percussion, guitar, synths and backing vocals. On 25 August 2008, Keane appeared as studio guests on BBC 6 Music with Steve Lamacq where three of the new songs from Perfect Symmetry were played for the first time: "Spiralling", "The Lovers Are Losing", and "Better Than This".
The album was released on 13 October 2008, and reached number one on the UK Albums Chart on 19 October. It also reached number 7 on the Billboard 200 chart. In December 2008, it was voted "Best Album of the Year" by the readers, listeners and visitors of Q Magazine, Q Radio and Qthemusic.com. The song "Perfect Symmetry" was voted best track.
In November 2008, they started the Perfect Symmetry World Tour. On 2 April 2009, Keane became the first band ever to broadcast a live show in 3D. It was filmed at Abbey Road, the site of the world's first satellite broadcast (by The Beatles). Keane fans were prompted to buy 3D glasses along with the new 7" single "Better Than This" or also to hand-make their own glasses.
2010: Night Train
On 10 May 2010, Keane released the EP titled Night Train which, on 16 May became their fourth number 1 album in the UK. Night Train was recorded during the Perfect Symmetry World Tour. The band first named this record as a mini-album, then that changed to an EP. In an interview, Tim Rice-Oxley said that Night Train is "pretty much an album".
The songs "Stop for a Minute" and "Looking Back" feature Somali Canadian rapper K'naan. The EP includes a cover of the song "You've Got to Help Yourself" by Yellow Magic Orchestra, featuring vocals by Japanese funk MC Tigarah. The song "Your Love" features Keane's keyboardist Tim Rice-Oxley onlead vocals. The song "My Shadow" was featured in the Season 6 Grey's Anatomy episode "Shiny Happy People".
Night Train has been met with mixed reviews from critics. Ryan Brockington of the New York Post PopWrap called the work "game changing" while writing that the first single "Stop for a Minute" is "just as brilliant" as the album.
Supporting the Night Train EP, the band began on the Night Train Tour. which started with a show in Brixton, London at The Fridge on 12 May 2010. The tour includes a homecoming show at the Bedgebury Pinetum, outside the band's hometown of Battle. Also festival appearances in Europe followed with a tour of North America, concluding with an appearance at the Mile High Festival in Denver.
2011–13: Strangeland
After the end of Mt. Desolation Tour (alternative project by Tim and Jesse), Tim Rice-Oxley and Jesse Quin joined the other two members of the band to work on the pre-production of Strangeland.
It was announced on 3 February 2011 on the band's official website that Quin had become an official member of the band. He has worked with Keane since 2007.
Keane played a concert in Beijing, China on 13 April 2011 at the invitation of the fashion company Burberry. The band performed an acoustic session at the Wall of China. The band finished recording their fourth studio album on 12 January 2012 and finished mixing the record on 10 February. The album was recorded at Tim Rice-Oxley's Sea Fog Studios, in Polegate, East Sussex.
The Strangeland Tour started at De La Warr Pavilion in Bexhill-on-Sea, East Sussex on Friday, 9 March 2012.
The band released "Silenced by the Night", the album's lead single, worldwide except for the United Kingdom on 13 March 2012. Keane performed "Silenced By the Night" for the first time on 12 March on Jimmy Kimmel Live!. The song was sent to U.S. adult alternative radio stations on 26 March 2012. In the UK, the single was released on 15 April 2012.
The single "Disconnected" was released on 20 April 2012 in Germany, Switzerland and Austria, with the official worldwide release on 8 October 2012. The single "Sovereign Light Café" was released on 23 July 2012. The video was filmed in Bexhill-on-Sea in Sussex, England.
Helen Lear from The Music wrote that Strangeland "will still sound to some like middle-of-the-road indie-pop" and "pretty much what you would expect from Keane", but "the tempo is noticeably more upbeat and the style more diverse than previous albums" and "offers some more fun in a grown-up style that may attract new fans to take a listen." Chris Roberts of the BBC criticised Strangeland as "an unabashed scurry back to the comfort zone", and that "Keane lack blood, guts and muscle", with the album ultimately classed as "a somewhat saddening step backwards." John Murphy of musicOMH rated the album two stars out of five, where "melodies are stodgy and predictable", with "a whole bucket of cliches piled in", calling Strangeland "proof positive that playing it safe is not always the best option." Ian Gittins of Virgin Media felt the album was "major musical step back from the wilful experimentalism of Perfect Symmetry, a record that saw Keane hiring dance producer Stuart Price and leaping far out of their comfort zone", commenting that the album "finds them fairly back in the middle of the road".
2013–19: The Best of Keane and hiatus
Keane released the compilation album The Best of Keane in November 2013. Two new songs recorded during Strangeland were released from the compilation album; "Higher Than the Sun" was released on 28 September 2013 and "Won't Be Broken" was released on 20 January 2014.
On 20 October 2013, several publications, including The Sun and Digital Spy, claimed that Keane intended to split following the release of The Best of Keane, and reported that the band members were "taking a break...to pursue their own projects." On 21 October 2013, Tom Chaplin clarified on Real Radio Yorkshire that the band was not splitting up, but the band members would like to "take a bit of time out from being Keane" after being busy for the past few years.
In an interview conducted in late 2017 with a correspondent from The Sun, Tom Chaplin stated that he felt that he was too old to reform and relaunch the band. He recorded a solo album titled "The Wave", released on 14 October 2016. He released follow-up Christmas-themed second album Twelve Tales of Christmas on 17 November 2017. Rice-Oxley and Quin continued side project Mt. Desolation, releasing the album When the Night Calls on 25 May 2018.
During the band's hiatus, the band has reunited three times: on 8 August 2015, Chaplin and Rice-Oxley performed a Keane setlist at Battle Festival. On 11 September 2016, the band released a music video for "Tear Up This Town", written and recorded for the film A Monster Calls.
2019–21: Return and Cause and Effect
Toward the end of 2018, Keane posted a series of cryptic images onto their various social media accounts, hinting that the quartet were in the studio working on material.
On 17 January 2019, an article from The Sun revealed that the band are planning "to make a comeback after six years away" and that a "source close to the rockers has revealed the band is ready to work together again after 'putting their differences to one side'".
On 6 February, Keane posted an image of them on their various social media accounts. This was followed by several announcements on their Instagram and Facebook sites of various festivals in which the band would perform, including Cornbury Music Festival (6 July 2019), 4ever Valencia Fest in Spain (21 July 2019), MEO Marés Vivas in Portugal (19 July 2019), Noches del Botánico in Madrid (20 July 2019), and Hello Festival in The Netherlands (9 June).
On 15 March 2019, Keane performed their song "Somewhere Only We Know" on Comic Relief's Red Nose Day on BBC One with London Contemporary Voices. On 26 March 2019, Keane posted "We’ve been desperate to tell you that we’re busy making another album, which we’ll be releasing later this year" to their Facebook page.
On 17 May 2019, Keane released an EP titled Retroactive EP1 featuring "our favourite archived live performances, older demos and random treasures". On 6 June 2019, the band released the first new single from Cause and Effect, titled "The Way I Feel".
On 16 June 2019, Keane performed a set at the Isle of Wight Festival, being the closing act of the event. On 14 July 2019, Keane did a set at the British Summer Time concert in Hyde Park.
The band released a vertical edition of the music video for "The Way I Feel" on 22 July 2019, followed by an AI-generated lyric video for the same song which dropped in July 2019. On 30 July 2019, Keane announced they would co-headline three performances in Mexico with the band Travis, having sets in Monterrey (13 November 2019), Guadalajara (15 November 2019), and at the Corona Capital Festival in Mexico City (16-17 November 2019). Also on this day, the band announced they would perform at "Espaço Das Americas" in São Paulo on 1 December 2019. The band performed on the main stage at the Lokerse Feesten on 3 August 2019. The band streamed an acoustic session and interview on YouTube on 5 August 2019 at the Paste Studio in New York City. On 6 August 2019, the band performed live "The Way I Feel" on The Today Show. Later that day, they hinted at the release of their second single from Cause and Effect, titled "Love Too Much". On 8 August 2019, "Love Too Much" was released for streaming and debuted on The Breakfast Show on BBC Radio 2. Neil Z. Yeung of AllMusic gave the album a positive review, writing "Not a game-changing comeback by any means, Cause and Effect is instead a satisfying return to form that manages to gracefully age Keane by invigorating a familiar formula with wisdom and honesty learned over a dramatic, life-changing decade."
2021-present: Dirt EP
On 9 April 2021, Keane announced on their social media platforms they would be participating in Record Store Day 2021 Drop 2 on 17 July, with the special early release of their new EP "Dirt" on 12" vinyl, featuring four previously unreleased tracks from Cause and Effect sessions.
On 17 July, the video for the new title track "Dirt" from the EP was released onto YouTube and Apple Music, coinciding with the limited early release of the 12" vinyl of the EP for Record Store Day. This came with the announcement that the full release of the EP will be on 13 August 2021.
Collaborations
In November 2004, Keane collaborated with electronic DJ Faultline on a cover of the Elton John song "Goodbye Yellow Brick Road". Two years later, Rice-Oxley collaborated with Gwen Stefani as a co-writer of the song "Early Winter", released later in 2007 as a single, from her album The Sweet Escape. Stefani had been wishing to work with the band since 2005, and Rice-Oxley responded by saying "we might give it a go". Tom Chaplin collaborated with Rocco Deluca and the Burden on the song "Mercy". The band collaborated with Somali-Canadian rapper K'naan and Japanese Baile Funk singer Tigarah on the EP Night Train. In late 2009, Rice-Oxley collaborated with the Australian singer Kylie Minogue as co-writer of the song "Everything Is Beautiful", for Minogue's eleventh studio album "Aphrodite", released in June 2010.
The band collaborated with dance artist Chicane on a remix of the song "Bend & Break", renamed "Wake Up". It was featured on the artist's 2008 best-of compilation. In 2012, Tom Chaplin collaborated with the Dutch singer Laura Jansen on the song "Same Heart" for a Dutch charity radio programme. The track was featured on Jansen's second studio album Elba. In 2017, a version of Tom Chaplin's solo track "Solid Gold", featuring alternative pop singer JONES, was released as a single.
Musical style and themes
Tim Rice-Oxley and Dominic Scott were the main writers of the band's songs during their early years. When Scott left in 2001, Rice-Oxley became the main composer. However, Rice-Oxley credits the rest of the band on all compositions, so that royalties for song credits are shared.
Keane usually harbours an ample, reverberated, melodic, slow- to mid-tempo fully orchestrated sound, somehow reminiscent of Elton John's early and middle career, and their more introspective songs have brought comparisons to Suede and Jeff Buckley.
While guitars have been (minimally) present even in their early work, their appearance in the final mix has always been slight, and while Chaplin has stepped up as an almost full-time guitarist in the band, that instrument is never featured as prominently as to be more than barely noticed. For this matter, they have been dubbed as "the band with no guitars", thanks to their heavily piano-based sound. By using delay and distortion effects on their pianos and similar keyboards, they often create sounds that aren't immediately recognisable as piano. Rice-Oxley said during an interview in Los Angeles that they tend to think piano-related music is boring and what they really wanted to do was try something different. He referred to the piano as an odd instrument to form part of a rock band instrumentation, comparing it to The Beatles' set of instruments. Rice-Oxley's distortion piano has been key to most of Keane's multifaceted style and most definitely their most recognizable asset.
Keane have covered songs by music artists such as U2, Rufus Wainwright, Depeche Mode, Genesis, The Beatles, The Cult and Queen. Rice-Oxley said "I guess it's classic song writing that is the main influence rather than one band in particular – we love people like Nick Drake who can convey so much emotion and write songs and albums that will be loved and cherished for many years – the things that will be in people's record collections for their whole lives."
Members
Current members
Tom Chaplin – lead vocals, guitar, keyboards (1997–present)
Tim Rice-Oxley – keyboards, guitar, bass (1995–present), backing vocals (1997–present), lead vocals (1995–1997)
Richard Hughes – drums, percussion, backing vocals (1995–present)
Jesse Quin – bass, guitar, percussion, backing vocals (2011–present; touring musician 2007–2011)
Former members
Dominic Scott – electric guitar, backing vocals (1995–2001)
Timeline
Awards and nominations
Discography
Hopes and Fears (2004)
Under the Iron Sea (2006)
Perfect Symmetry (2008)
Strangeland (2012)
Cause and Effect (2019)
Concert tours
Hopes and Fears Tour (2004–05)
Under the Iron Sea Tour (2006–07)
Perfect Symmetry World Tour (2008–09)
Night Train Tour (2010)
Strangeland Tour (2012–13)
Cause and Effect Tour (2019–20)
Songs in other media
See also
Live Earth
Make Poverty History
References
Books
Mass media
Keane gig and record reviews on Record Overplayed webzine, 2003– 2005
SONIKA*. Sonika 53: El triunfo del Indie: Keane o entre la suerte y el talento (August 2006). Retrieved on 15 August 2006
Keane video interview with stv.tv/music, March 2007
External links
English alternative rock groups
English pop rock music groups
Post-Britpop groups
Brit Award winners
Interscope Records artists
Ivor Novello Award winners
Musical groups established in 1995
Musical quartets
Island Records artists
Fierce Panda Records artists
Musical groups from East Sussex
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[
"Jackson Rogow (born October 5, 1991) is an American actor. He is best known for starring in the Cartoon Network live action series Dude, What Would Happen?\n\nCareer\nRogow was on Dude, What Would Happen on Cartoon Network until it was cancelled in 2011. Rogow was also on the Lego Top Secret Project after The Yoda Chronicles on Cartoon Network.\n\nPersonal life\nRogow resides in Bel Air, Los Angeles, California.\n\nFilmography\n\nReferences\n\nExternal links \n\nLiving people\n1991 births\nPeople from Kissimmee, Florida\nPeople from Bel Air, Los Angeles\nLos Angeles County High School for the Arts alumni\nAmerican male television actors",
"James P. Flynn (born February 5, 1934) is an American teamster and film actor. He was a reputed member of the famous Winter Hill Gang. He has been in films including Good Will Hunting, The Cider House Rules and What's the Worst That Could Happen?.\n\nBiography\nJames P. Flynn was born in Somerville, Massachusetts.\n\nIn 1982, Flynn was wrongly identified as a shooter in the murder of Winter Hill Gang mob associate Brian \"Balloonhead\" Halloran and attempted murder of Michael Donahue. He was tried and acquitted for the murder in 1986 after being framed by John Connolly and James J. Bulger.\n\nFlynn was a part of Boston's International Brotherhood of Teamsters Local 25 labor union where he later ran the organization's movie production crew. He has also been the Teamster Union's transportation coordinator and transportation captain in the transportation department on numerous films, including The Departed, Fever Pitch and Jumanji.\n\nFlynn appeared in many films shot in the New England area. In show business he goes by the name 'James P. Flynn'. Flynn was cast as a judge in the Boston-based film Good Will Hunting in 1997. Later, he acted in the 1999 film The Cider House Rules and What's the Worst That Could Happen? in 2001. He was also a truck driver for movie production equipment during the filming of My Best Friend's Girl in 2008. Boston actor Tom Kemp remarked: \"[The film The Departed] wouldn't be a Boston movie without me, a Wahlberg, and Jimmy Flynn from the teamsters.\"\n\nFilmography\nGood Will Hunting (1997) as Judge George H. Malone\nThe Cider House Rules (1999) as Vernon\nWhat's the Worst That Could Happen? (2001) as the Fire Captain\n\nReferences\n\nExternal links \n\n1934 births\nLiving people\nMale actors from Boston\nWinter Hill Gang"
] |
[
"Keane (band)",
"1995-99: Early years and formation",
"What happen in 1995",
"while studying at University College London for a degree in classics, Rice-Oxley formed a rock band with Scott, and invited Hughes to play drums."
] |
C_565f3a357e82409b844e44a9d84ca926_1
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What music did they make
| 2 |
What music did Keane make?
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Keane (band)
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Tom Chaplin and Tim Rice-Oxley became friends when very young. Chaplin's father David was the headmaster of Vinehall School in Robertsbridge, East Sussex, (owned by Chaplin's family) for 25 years, the school all three attended until the age of 13. They later attended Tonbridge School in Kent, where Rice-Oxley met Dominic Scott; both of them discovered rapidly their liking for music. Richard Hughes, Keane's future drummer, also attended Tonbridge. Chaplin had also learned to play the flute but none of them considered music as a proper career at the time. In 1995, while studying at University College London for a degree in classics, Rice-Oxley formed a rock band with Scott, and invited Hughes to play drums. The band, named "Lotus Eaters", started as a cover band, playing songs by the members' favourite bands, including U2, Oasis, and The Beatles, and rehearsing at home. After listening to Rice-Oxley's piano playing during a weekend at Virginia Water, Surrey in 1997, Chris Martin invited him to join his newly formed band Coldplay. However, Rice-Oxley declined because he did not want to leave "The Lotus Eaters", stating, "I was seriously interested, but Keane were already operational and Coldplay's keyboard player idea was dropped." Because of Martin's offer, and although Hughes and Scott were originally opposed to it, Chaplin joined the band in 1997, taking Rice-Oxley's place as vocalist and adding himself as the acoustic guitarist. Chaplin's recruitment also marked a change of name from "The Lotus Eaters" to "Cherry Keane", after a friend of Chaplin's mother, whom Rice-Oxley and Chaplin knew when they were young. She took care of them and would tell them to go for their dreams. At her death from cancer, she had left money for Chaplin's family. Chaplin commented: "I used some of the money to see me through the harder times with the music." The name was shortened to Keane soon afterward. Chaplin departed for South Africa in the summer of 1997 to work as a volunteer during his gap year. Chaplin's early experiences there would later be reflected in the band's position for the Make Poverty History campaign. Returning a year later, in July 1998, following a meeting with friend David Lloyd Seaman, Hughes' first words when the band picked up Chaplin at the airport were, "we've got a gig in ten days." With original material, Keane made their debut live appearance at the "Hope & Anchor" pub on 13 July 1998. In this same year, Chaplin went to Edinburgh University to study for a degree in art history. However, he later quit his degree and moved to London in order to pursue a full-time musical career with his friends. After their debut performance, the band went touring London's pub gig circuit throughout 1998 and 1999. CANNOTANSWER
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started as a cover band,
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Keane are an English alternative rock band from Battle, East Sussex, formed in 1995. They met whilst at Tonbridge School together. The band currently comprises Tom Chaplin (lead vocals, electric/acoustic guitar), Tim Rice-Oxley (piano, synthesisers, bass guitar, backing vocals), Richard Hughes (drums, percussion, backing vocals), and Jesse Quin (bass guitar, acoustic/electric guitar, backing vocals). Their original line-up included founder and guitarist Dominic Scott, who left in 2001.
Keane achieved mainstream, international success with the release of their debut album Hopes and Fears in 2004. Topping the UK charts, the album won the 2005 Brit Award for Best British Album and was the second best-selling British album of 2004. It is one of the best-selling albums in UK chart history. Their second album, Under the Iron Sea, released in 2006, topped the UK album charts and debuted at number four on the US Billboard 200. Their third album Perfect Symmetry was released in October 2008.
In May 2008, both Hopes and Fears (number 13) and Under the Iron Sea (number 8) were voted by readers of Q magazine as among the best British albums ever, with Keane, The Beatles, Oasis and Radiohead the only artists having two albums in the top 20. In 2009, Hopes and Fears was listed as the ninth best-selling album of the 2000s decade in the UK. Their EP Night Train was released in May 2010. Their fourth studio album Strangeland was released in May 2012 and peaked at number one on the UK Albums Chart.
Keane are known for using keyboards as the lead instrument instead of guitar, differentiating them from most other rock bands. The inclusion of a distorted piano effect in 2006 and various synthesisers were a common feature in their music which developed on the second and third albums. Keane have sold over 13 million records worldwide.
After the release of their compilation album The Best of Keane in 2013, the band took a hiatus, lasting nearly 5 years.
The band returned after the hiatus with new music, announcing their fifth studio album titled Cause and Effect on 6 June 2019 and releasing the lead single from the album "The Way I Feel". A collection of the songs were written by Tim Rice-Oxley during his divorce, and after discussions with Tom who had visited Tim the previous year, decided to proceed with recording the songs for the album. Cause and Effect was released on 20 September 2019. After the release of the album, the band embarked on the Cause and Effect Tour, visiting Europe and Latin America, before the remainder of the tour was postponed due to the COVID-19 pandemic.
History
1995–99: Early years and formation
Tom Chaplin and Tim Rice-Oxley became friends when very young. Chaplin's father David was the headmaster of Vinehall School in Robertsbridge, East Sussex (owned by Chaplin's family) for 25 years, the school all three attended until the age of 13. They later attended Tonbridge School in Kent, where Rice-Oxley met Dominic Scott; both discovered their liking for music. Richard Hughes, Keane's future drummer, also attended Tonbridge. Chaplin had learned to play the flute, but none considered music as a proper career at the time.
In 1995, while studying at University College London, Rice-Oxley formed a rock band with Scott and invited Hughes to play drums. The band, named Lotus Eaters, started as a cover band, playing songs by the members' favourite bands, including U2, Oasis, and The Beatles, and rehearsing at home.
After listening to Rice-Oxley's piano playing during a weekend at Virginia Water, Surrey in 1997, Chris Martin invited him to join his newly formed band Coldplay. However, Rice-Oxley declined because he did not want to leave The Lotus Eaters, stating "I was seriously interested, but Keane were already operational and Coldplay's keyboard player idea was dropped." Because of Martin's offer, and although Hughes and Scott were originally opposed to it, Chaplin joined the band in 1997, taking Rice-Oxley's place as vocalist and adding himself as the acoustic guitarist. Chaplin's recruitment also marked a change of name from The Lotus Eaters to Cherry Keane after a friend of Chaplin's mother, whom Rice-Oxley and Chaplin knew when they were young. At her death from cancer, she had left money for Chaplin's family. Chaplin commented: "I used some of the money to see me through the harder times with the music." The name was shortened to Keane soon afterward.
Chaplin departed for South Africa in Summer 1997 to work as a volunteer during his gap year. Chaplin's early experiences there later were reflected in the band's position for the Make Poverty History campaign. Returning a year later, in July 1998, following a meeting with friend David Lloyd Seaman, Hughes' first words when the band picked up Chaplin at the airport were "we've got a gig in 10 days." With original material, Keane made their debut live appearance at the Hope & Anchor pub on 13 July 1998. In this same year, Chaplin went to Edinburgh University to study for a degree in art history] However, he later quit his degree and moved to London to pursue a full-time musical career. After their debut performance, the band went touring London's pub gig circuit throughout 1998 and 1999.
1999–2003: Early releases and Scott's departure
In late 1999, and without a record deal, Keane recorded their first promotional single "Call Me What You Like". Released on CD format through Keane's label Zoomorphic, it was sold after live performances at the pubs where Keane used to play in early 2000. Only 500 copies were printed. The band have declared they are not against fans sharing tracks unreleased on CD, such as the demos "More Matey" and "Emily". Chaplin has said "they most likely see those recordings as an interesting extra to get hold of and I don't see it causing any damage. If it was the album we have coming out leaked early, then I'd probably feel differently." The EP was reviewed by Bec Rodwell from eFestivals who listed "Closer Now" as the best song of the record.
Four months after the "Call Me What You Like" re-recording session in February 2001, "Wolf at the Door" was released. Only 50 copies are known to have been made, using unlabelled CD-Rs. Both singles are considered highly valuable collectors' items by fans. In particular, "Wolf at the Door" has been known to be sold for over £1000 on eBay.
Because of the limited success Keane had at this time, Scott decided to leave the group a month after this single was released to continue his studies at the LSE. Before this, in November 2000, Keane had been invited by record producer James Sanger to his recording studio at Les Essarts, France, where the band recorded a number of tracks from August to November 2001, including "Bedshaped" and "This Is the Last Time". It was during these sessions that the idea of using a piano as lead instrument began to emerge. Sanger received a shared credit for four songs that appeared on Keane's debut album Hopes and Fears, including the song "Sunshine", the only one composed there.
The remaining members of the band returned to England in November 2001. Soon after, they signed to BMG to publish their music, but at this time they did not yet have a recording contract. 2002 was a hard year for Keane. All recording or live performances were stopped, and Scott's feeling of going nowhere was starting to tell on Rice-Oxley and Chaplin.
In December 2002, Keane returned to performing live. Luckily for the band, one gig at the Betsey Trotwood in London was attended by Simon Williams of Fierce Panda Records, the same man who had discovered Coldplay years previously. Williams offered to release the first commercial single by the band. This release was "Everybody's Changing", which Steve Lamacq named single of the week on Lamacq Live on 19 April 2003; the CD single was released on 12 May 2003.
As a result of the attention created by this release and because of the strong live reputation they had built through constant UK touring, a bidding war for the band ensued among major record labels. The band decided to sign with Island Records in Summer 2003. After first being attracted to the band by the considerable industry buzz then surrounding them and from hearing "Everybody's Changing" on the radio, the Island A&R, Ferdy Unger-Hamilton, told HitQuarters that he wanted to sign them after hearing the five songs "Everybody’s Changing", "This Is the Last Time", "She Has No Time", "Bend and Break" and "Somewhere Only We Know", saying "every one of them was brilliant...they had a fantastic live show [but] even if I hadn't been able to see them live, I would have tried to sign them anyway." According to Unger-Hamilton, Keane chose to sign with Island because they got on well with the A&R and were convinced that he did not want to change them in any way.
The band released "This Is the Last Time" on Fierce Panda, in October 2003 as the final release on that label.
2004–05: Hopes and Fears
With the release of their first major single, Keane began to achieve recognition in the United Kingdom and the United States, where "This Is the Last Time" was released and remained as the only single sold there until "Crystal Ball" in late 2006.
In January 2004, Keane was named the band most likely to achieve success in the coming year in the BBC's Sound of 2004 poll; additionally, this year is popularly referred to as one of the best years for new British music.
A month later, Keane's first release on Island was "Somewhere Only We Know", which reached number three on the UK Singles Chart in February 2004. On 4 May, a re-release of "Everybody's Changing" followed and featured new cover and b-sides; it reached number four in the UK Singles Chart.
Keane's debut album Hopes and Fears was released on 10 May 2004 in the UK, a day before the band started their first world tour. It debuted at number one on the UK Albums Chart and became the second best-selling British album of the year. It has been certified 9x platinum in the UK.
Drowned in Sound gave it 5 out of 10, accusing Keane of excessively imitating Coldplay (specifically comparing "Your Eyes Open" and "On a Day Like Today" with, respectively, "Daylight" and "Politik" on the band's album A Rush of Blood to the Head), criticising the album as being "stylistically all over the place" and its lyrics as being "immature" and "cringe-worthy". However, it gave credit to the album's "fine moments", praising lead single "Somewhere Only We Know" as "breathtaking".
The album has sold approximately 5.5 million copies worldwide. In the UK, it stayed in the top 75 of the UK Albums Chart for 72 weeks, appearing again on its 115th week.
The band won two awards at the 2005 BRIT Awards in February; Best British album for Hopes and Fears, and the British breakthrough act award as voted for by listeners of BBC Radio 1. Three months after, Rice-Oxley received the Ivor Novello award for songwriter of the year.
As members of the Make Poverty History, Keane performed "Somewhere Only We Know" and "Bedshaped" at the Live 8 concert, which took place in London on 2 July 2005. Keane are also patrons of War Child, and in September 2005, they recorded a cover version of Elton John's "Goodbye Yellow Brick Road" to the charity album Help: a Day in the Life. Previously, the band had recorded a cover of the Walker Brothers' "The Sun Ain't Gonna Shine Anymore". It also was released as a 7" single as a gift to members of the Keane emailing list.
Twenty years after the 1984 version, Band Aid (now called Band Aid 20) recorded a new version of "Do They Know It's Christmas?". Rice-Oxley and Chaplin both contributed vocals.
During the year, the band achieved minor recognition in the U.S. from their extensive touring, which culminated with a series of gigs as the opening act for U2. The group were nominated for a Grammy Award in the Best New Artist category along with Sugarland, John Legend, Ciara, and Fall Out Boy.
2006–07: Under the Iron Sea
In April 2005, in the middle of the Hopes and Fears tour, the band began recording Under the Iron Sea with producer Andy Green, who worked with them on Hopes and Fears. The band later recruited Mark "Spike" Stent for mixing duties. Recording took place in Helioscentric Studios, where Hopes and Fears was recorded. Additional recording was done at The Magic Shop Studios in New York.
The album's release was preceded by the release of the "Atlantic", a download-only music video and the lead single "Is It Any Wonder?", which reached number three on the UK Singles Chart. The song was nominated for a Grammy Award for Best Pop Performance by a Duo or Group with Vocals in 2007. The album had a worldwide release in June 2006 and was at number 1 in the UK Albums Chart for the first two weeks of its release. , it had sold more than 2.2 million copies. The third single from the album was "Crystal Ball", released on 21 August 2006, and reached number 20 in the UK Singles Chart. The fourth single from the album was "Nothing in My Way", released on 30 October 2006, which received particular success on Mexican commercial radio, charting on Top 3 on 13 January 2007 and staying a month on that chart. The band released the single "The Night Sky" in aid of the charity War Child.
Before the release of the album (in May 2006), Keane had started their second world tour. However, because of the extensive touring, on 22 August 2006, Chaplin announced he had admitted himself to a clinic for drinking and drug problems. This initially resulted in the cancellation of three gigs and postponement of their September tour. The entire North American tour was cancelled outright to allow continued treatment. As a result, the upcoming UK and European tours, scheduled for October and November 2006, were considered to be liable for possible postponement depending on Chaplin's treatment. Chaplin then left the Priory Clinic in London on 6 October, but he continued to receive treatment. The tour reached for the first time South American countries (Argentina, Chile and Brazil) and saw the band's third visit to Mexico in late April with four dates, playing at the downtown zócalo in Mexico City, as well their first visit to Monterrey and Guadalajara. On 7 July 2007, Keane played at the UK leg of Live Earth at Wembley Stadium, part of a series of gigs similar to Live 8, to highlight the threat of global warming. They performed "Somewhere Only We Know", "Is It Any Wonder?" and "Bedshaped". The Under the Iron Sea tour was brought to an end with performances in Oporto, Portugal, and at the Natural Music Festival in El Ejido, Spain on 3 August and 4 respectively.
In 2008, Under the Iron Sea was voted the 8th best British album of all time by a poll conducted by Q Magazine and HMV. In early October, Concert Live announced they were releasing a limited edition nine-CD set of every Keane live performance in the UK during October 2006 under the name Live 06.
2008–09: Perfect Symmetry
In a March 2007 video interview, Chaplin and Hughes spoke of wanting to take a more "organic" approach on album three, but played down suggestions about the use of guitars, referring to them as "a fun part of the live set" at present; however, the cover of "She Sells Sanctuary" became the first song recorded since "The Happy Soldier" (2001) to feature the instrument. Photographic updates to the Keane website implied the use of guitars in the album's recording sessions. Jesse Quin joined the band since this album as permanent studio and live member. He plays the bass, percussion, guitar, synths and backing vocals. On 25 August 2008, Keane appeared as studio guests on BBC 6 Music with Steve Lamacq where three of the new songs from Perfect Symmetry were played for the first time: "Spiralling", "The Lovers Are Losing", and "Better Than This".
The album was released on 13 October 2008, and reached number one on the UK Albums Chart on 19 October. It also reached number 7 on the Billboard 200 chart. In December 2008, it was voted "Best Album of the Year" by the readers, listeners and visitors of Q Magazine, Q Radio and Qthemusic.com. The song "Perfect Symmetry" was voted best track.
In November 2008, they started the Perfect Symmetry World Tour. On 2 April 2009, Keane became the first band ever to broadcast a live show in 3D. It was filmed at Abbey Road, the site of the world's first satellite broadcast (by The Beatles). Keane fans were prompted to buy 3D glasses along with the new 7" single "Better Than This" or also to hand-make their own glasses.
2010: Night Train
On 10 May 2010, Keane released the EP titled Night Train which, on 16 May became their fourth number 1 album in the UK. Night Train was recorded during the Perfect Symmetry World Tour. The band first named this record as a mini-album, then that changed to an EP. In an interview, Tim Rice-Oxley said that Night Train is "pretty much an album".
The songs "Stop for a Minute" and "Looking Back" feature Somali Canadian rapper K'naan. The EP includes a cover of the song "You've Got to Help Yourself" by Yellow Magic Orchestra, featuring vocals by Japanese funk MC Tigarah. The song "Your Love" features Keane's keyboardist Tim Rice-Oxley onlead vocals. The song "My Shadow" was featured in the Season 6 Grey's Anatomy episode "Shiny Happy People".
Night Train has been met with mixed reviews from critics. Ryan Brockington of the New York Post PopWrap called the work "game changing" while writing that the first single "Stop for a Minute" is "just as brilliant" as the album.
Supporting the Night Train EP, the band began on the Night Train Tour. which started with a show in Brixton, London at The Fridge on 12 May 2010. The tour includes a homecoming show at the Bedgebury Pinetum, outside the band's hometown of Battle. Also festival appearances in Europe followed with a tour of North America, concluding with an appearance at the Mile High Festival in Denver.
2011–13: Strangeland
After the end of Mt. Desolation Tour (alternative project by Tim and Jesse), Tim Rice-Oxley and Jesse Quin joined the other two members of the band to work on the pre-production of Strangeland.
It was announced on 3 February 2011 on the band's official website that Quin had become an official member of the band. He has worked with Keane since 2007.
Keane played a concert in Beijing, China on 13 April 2011 at the invitation of the fashion company Burberry. The band performed an acoustic session at the Wall of China. The band finished recording their fourth studio album on 12 January 2012 and finished mixing the record on 10 February. The album was recorded at Tim Rice-Oxley's Sea Fog Studios, in Polegate, East Sussex.
The Strangeland Tour started at De La Warr Pavilion in Bexhill-on-Sea, East Sussex on Friday, 9 March 2012.
The band released "Silenced by the Night", the album's lead single, worldwide except for the United Kingdom on 13 March 2012. Keane performed "Silenced By the Night" for the first time on 12 March on Jimmy Kimmel Live!. The song was sent to U.S. adult alternative radio stations on 26 March 2012. In the UK, the single was released on 15 April 2012.
The single "Disconnected" was released on 20 April 2012 in Germany, Switzerland and Austria, with the official worldwide release on 8 October 2012. The single "Sovereign Light Café" was released on 23 July 2012. The video was filmed in Bexhill-on-Sea in Sussex, England.
Helen Lear from The Music wrote that Strangeland "will still sound to some like middle-of-the-road indie-pop" and "pretty much what you would expect from Keane", but "the tempo is noticeably more upbeat and the style more diverse than previous albums" and "offers some more fun in a grown-up style that may attract new fans to take a listen." Chris Roberts of the BBC criticised Strangeland as "an unabashed scurry back to the comfort zone", and that "Keane lack blood, guts and muscle", with the album ultimately classed as "a somewhat saddening step backwards." John Murphy of musicOMH rated the album two stars out of five, where "melodies are stodgy and predictable", with "a whole bucket of cliches piled in", calling Strangeland "proof positive that playing it safe is not always the best option." Ian Gittins of Virgin Media felt the album was "major musical step back from the wilful experimentalism of Perfect Symmetry, a record that saw Keane hiring dance producer Stuart Price and leaping far out of their comfort zone", commenting that the album "finds them fairly back in the middle of the road".
2013–19: The Best of Keane and hiatus
Keane released the compilation album The Best of Keane in November 2013. Two new songs recorded during Strangeland were released from the compilation album; "Higher Than the Sun" was released on 28 September 2013 and "Won't Be Broken" was released on 20 January 2014.
On 20 October 2013, several publications, including The Sun and Digital Spy, claimed that Keane intended to split following the release of The Best of Keane, and reported that the band members were "taking a break...to pursue their own projects." On 21 October 2013, Tom Chaplin clarified on Real Radio Yorkshire that the band was not splitting up, but the band members would like to "take a bit of time out from being Keane" after being busy for the past few years.
In an interview conducted in late 2017 with a correspondent from The Sun, Tom Chaplin stated that he felt that he was too old to reform and relaunch the band. He recorded a solo album titled "The Wave", released on 14 October 2016. He released follow-up Christmas-themed second album Twelve Tales of Christmas on 17 November 2017. Rice-Oxley and Quin continued side project Mt. Desolation, releasing the album When the Night Calls on 25 May 2018.
During the band's hiatus, the band has reunited three times: on 8 August 2015, Chaplin and Rice-Oxley performed a Keane setlist at Battle Festival. On 11 September 2016, the band released a music video for "Tear Up This Town", written and recorded for the film A Monster Calls.
2019–21: Return and Cause and Effect
Toward the end of 2018, Keane posted a series of cryptic images onto their various social media accounts, hinting that the quartet were in the studio working on material.
On 17 January 2019, an article from The Sun revealed that the band are planning "to make a comeback after six years away" and that a "source close to the rockers has revealed the band is ready to work together again after 'putting their differences to one side'".
On 6 February, Keane posted an image of them on their various social media accounts. This was followed by several announcements on their Instagram and Facebook sites of various festivals in which the band would perform, including Cornbury Music Festival (6 July 2019), 4ever Valencia Fest in Spain (21 July 2019), MEO Marés Vivas in Portugal (19 July 2019), Noches del Botánico in Madrid (20 July 2019), and Hello Festival in The Netherlands (9 June).
On 15 March 2019, Keane performed their song "Somewhere Only We Know" on Comic Relief's Red Nose Day on BBC One with London Contemporary Voices. On 26 March 2019, Keane posted "We’ve been desperate to tell you that we’re busy making another album, which we’ll be releasing later this year" to their Facebook page.
On 17 May 2019, Keane released an EP titled Retroactive EP1 featuring "our favourite archived live performances, older demos and random treasures". On 6 June 2019, the band released the first new single from Cause and Effect, titled "The Way I Feel".
On 16 June 2019, Keane performed a set at the Isle of Wight Festival, being the closing act of the event. On 14 July 2019, Keane did a set at the British Summer Time concert in Hyde Park.
The band released a vertical edition of the music video for "The Way I Feel" on 22 July 2019, followed by an AI-generated lyric video for the same song which dropped in July 2019. On 30 July 2019, Keane announced they would co-headline three performances in Mexico with the band Travis, having sets in Monterrey (13 November 2019), Guadalajara (15 November 2019), and at the Corona Capital Festival in Mexico City (16-17 November 2019). Also on this day, the band announced they would perform at "Espaço Das Americas" in São Paulo on 1 December 2019. The band performed on the main stage at the Lokerse Feesten on 3 August 2019. The band streamed an acoustic session and interview on YouTube on 5 August 2019 at the Paste Studio in New York City. On 6 August 2019, the band performed live "The Way I Feel" on The Today Show. Later that day, they hinted at the release of their second single from Cause and Effect, titled "Love Too Much". On 8 August 2019, "Love Too Much" was released for streaming and debuted on The Breakfast Show on BBC Radio 2. Neil Z. Yeung of AllMusic gave the album a positive review, writing "Not a game-changing comeback by any means, Cause and Effect is instead a satisfying return to form that manages to gracefully age Keane by invigorating a familiar formula with wisdom and honesty learned over a dramatic, life-changing decade."
2021-present: Dirt EP
On 9 April 2021, Keane announced on their social media platforms they would be participating in Record Store Day 2021 Drop 2 on 17 July, with the special early release of their new EP "Dirt" on 12" vinyl, featuring four previously unreleased tracks from Cause and Effect sessions.
On 17 July, the video for the new title track "Dirt" from the EP was released onto YouTube and Apple Music, coinciding with the limited early release of the 12" vinyl of the EP for Record Store Day. This came with the announcement that the full release of the EP will be on 13 August 2021.
Collaborations
In November 2004, Keane collaborated with electronic DJ Faultline on a cover of the Elton John song "Goodbye Yellow Brick Road". Two years later, Rice-Oxley collaborated with Gwen Stefani as a co-writer of the song "Early Winter", released later in 2007 as a single, from her album The Sweet Escape. Stefani had been wishing to work with the band since 2005, and Rice-Oxley responded by saying "we might give it a go". Tom Chaplin collaborated with Rocco Deluca and the Burden on the song "Mercy". The band collaborated with Somali-Canadian rapper K'naan and Japanese Baile Funk singer Tigarah on the EP Night Train. In late 2009, Rice-Oxley collaborated with the Australian singer Kylie Minogue as co-writer of the song "Everything Is Beautiful", for Minogue's eleventh studio album "Aphrodite", released in June 2010.
The band collaborated with dance artist Chicane on a remix of the song "Bend & Break", renamed "Wake Up". It was featured on the artist's 2008 best-of compilation. In 2012, Tom Chaplin collaborated with the Dutch singer Laura Jansen on the song "Same Heart" for a Dutch charity radio programme. The track was featured on Jansen's second studio album Elba. In 2017, a version of Tom Chaplin's solo track "Solid Gold", featuring alternative pop singer JONES, was released as a single.
Musical style and themes
Tim Rice-Oxley and Dominic Scott were the main writers of the band's songs during their early years. When Scott left in 2001, Rice-Oxley became the main composer. However, Rice-Oxley credits the rest of the band on all compositions, so that royalties for song credits are shared.
Keane usually harbours an ample, reverberated, melodic, slow- to mid-tempo fully orchestrated sound, somehow reminiscent of Elton John's early and middle career, and their more introspective songs have brought comparisons to Suede and Jeff Buckley.
While guitars have been (minimally) present even in their early work, their appearance in the final mix has always been slight, and while Chaplin has stepped up as an almost full-time guitarist in the band, that instrument is never featured as prominently as to be more than barely noticed. For this matter, they have been dubbed as "the band with no guitars", thanks to their heavily piano-based sound. By using delay and distortion effects on their pianos and similar keyboards, they often create sounds that aren't immediately recognisable as piano. Rice-Oxley said during an interview in Los Angeles that they tend to think piano-related music is boring and what they really wanted to do was try something different. He referred to the piano as an odd instrument to form part of a rock band instrumentation, comparing it to The Beatles' set of instruments. Rice-Oxley's distortion piano has been key to most of Keane's multifaceted style and most definitely their most recognizable asset.
Keane have covered songs by music artists such as U2, Rufus Wainwright, Depeche Mode, Genesis, The Beatles, The Cult and Queen. Rice-Oxley said "I guess it's classic song writing that is the main influence rather than one band in particular – we love people like Nick Drake who can convey so much emotion and write songs and albums that will be loved and cherished for many years – the things that will be in people's record collections for their whole lives."
Members
Current members
Tom Chaplin – lead vocals, guitar, keyboards (1997–present)
Tim Rice-Oxley – keyboards, guitar, bass (1995–present), backing vocals (1997–present), lead vocals (1995–1997)
Richard Hughes – drums, percussion, backing vocals (1995–present)
Jesse Quin – bass, guitar, percussion, backing vocals (2011–present; touring musician 2007–2011)
Former members
Dominic Scott – electric guitar, backing vocals (1995–2001)
Timeline
Awards and nominations
Discography
Hopes and Fears (2004)
Under the Iron Sea (2006)
Perfect Symmetry (2008)
Strangeland (2012)
Cause and Effect (2019)
Concert tours
Hopes and Fears Tour (2004–05)
Under the Iron Sea Tour (2006–07)
Perfect Symmetry World Tour (2008–09)
Night Train Tour (2010)
Strangeland Tour (2012–13)
Cause and Effect Tour (2019–20)
Songs in other media
See also
Live Earth
Make Poverty History
References
Books
Mass media
Keane gig and record reviews on Record Overplayed webzine, 2003– 2005
SONIKA*. Sonika 53: El triunfo del Indie: Keane o entre la suerte y el talento (August 2006). Retrieved on 15 August 2006
Keane video interview with stv.tv/music, March 2007
External links
English alternative rock groups
English pop rock music groups
Post-Britpop groups
Brit Award winners
Interscope Records artists
Ivor Novello Award winners
Musical groups established in 1995
Musical quartets
Island Records artists
Fierce Panda Records artists
Musical groups from East Sussex
| true |
[
"Genocide Organ is a German power electronics/martial industrial collective, formed in Mannheim, Germany in 1985. They are known for their brutal and controversial presentation in their music and attitude.\n\nMany of the themes present in their music make reference to the Ku Klux Klan, the Third Reich and war. This insistence on these themes has led to accusations of being far-right extremists, they have denied these accusations in interviews saying: “We never say what we think, and we never believe what we say, and if we tell the truth by accident, we hide it under so many lies that it is difficult to find out”. Due to this attitude, the website Discogs has blocked the sale of a number of their albums.\n\nDiscography \n\n Leichenlinie (1989)\n Save Our Slaves (1991)\n Mind Control (1995)\n Remember (1997)\n The Truth Will Make You Free (1999)\n Same (2003)\n In-Konflikt (2004)\n Under-Kontrakt (2011)\n Obituary of the Americas (2016)\n Civilization (2017)\n Movement (2019)\n\nReferences\n\nExternal links \n\n Tesco Organisation Webpage\n\nMusical groups established in 1985\nElectronic music groups\nExperimental music\nPower electronics (music)\nIndustrial music groups",
"\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)"
] |
[
"Keane (band)",
"1995-99: Early years and formation",
"What happen in 1995",
"while studying at University College London for a degree in classics, Rice-Oxley formed a rock band with Scott, and invited Hughes to play drums.",
"What music did they make",
"started as a cover band,"
] |
C_565f3a357e82409b844e44a9d84ca926_1
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Are there any other interesting aspects about this article?
| 3 |
Besides being a cover band,Are there any other interesting aspects about this article regarding Keane?
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Keane (band)
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Tom Chaplin and Tim Rice-Oxley became friends when very young. Chaplin's father David was the headmaster of Vinehall School in Robertsbridge, East Sussex, (owned by Chaplin's family) for 25 years, the school all three attended until the age of 13. They later attended Tonbridge School in Kent, where Rice-Oxley met Dominic Scott; both of them discovered rapidly their liking for music. Richard Hughes, Keane's future drummer, also attended Tonbridge. Chaplin had also learned to play the flute but none of them considered music as a proper career at the time. In 1995, while studying at University College London for a degree in classics, Rice-Oxley formed a rock band with Scott, and invited Hughes to play drums. The band, named "Lotus Eaters", started as a cover band, playing songs by the members' favourite bands, including U2, Oasis, and The Beatles, and rehearsing at home. After listening to Rice-Oxley's piano playing during a weekend at Virginia Water, Surrey in 1997, Chris Martin invited him to join his newly formed band Coldplay. However, Rice-Oxley declined because he did not want to leave "The Lotus Eaters", stating, "I was seriously interested, but Keane were already operational and Coldplay's keyboard player idea was dropped." Because of Martin's offer, and although Hughes and Scott were originally opposed to it, Chaplin joined the band in 1997, taking Rice-Oxley's place as vocalist and adding himself as the acoustic guitarist. Chaplin's recruitment also marked a change of name from "The Lotus Eaters" to "Cherry Keane", after a friend of Chaplin's mother, whom Rice-Oxley and Chaplin knew when they were young. She took care of them and would tell them to go for their dreams. At her death from cancer, she had left money for Chaplin's family. Chaplin commented: "I used some of the money to see me through the harder times with the music." The name was shortened to Keane soon afterward. Chaplin departed for South Africa in the summer of 1997 to work as a volunteer during his gap year. Chaplin's early experiences there would later be reflected in the band's position for the Make Poverty History campaign. Returning a year later, in July 1998, following a meeting with friend David Lloyd Seaman, Hughes' first words when the band picked up Chaplin at the airport were, "we've got a gig in ten days." With original material, Keane made their debut live appearance at the "Hope & Anchor" pub on 13 July 1998. In this same year, Chaplin went to Edinburgh University to study for a degree in art history. However, he later quit his degree and moved to London in order to pursue a full-time musical career with his friends. After their debut performance, the band went touring London's pub gig circuit throughout 1998 and 1999. CANNOTANSWER
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After listening to Rice-Oxley's piano playing during a weekend at Virginia Water, Surrey in 1997, Chris Martin invited him to join his newly formed band Coldplay.
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Keane are an English alternative rock band from Battle, East Sussex, formed in 1995. They met whilst at Tonbridge School together. The band currently comprises Tom Chaplin (lead vocals, electric/acoustic guitar), Tim Rice-Oxley (piano, synthesisers, bass guitar, backing vocals), Richard Hughes (drums, percussion, backing vocals), and Jesse Quin (bass guitar, acoustic/electric guitar, backing vocals). Their original line-up included founder and guitarist Dominic Scott, who left in 2001.
Keane achieved mainstream, international success with the release of their debut album Hopes and Fears in 2004. Topping the UK charts, the album won the 2005 Brit Award for Best British Album and was the second best-selling British album of 2004. It is one of the best-selling albums in UK chart history. Their second album, Under the Iron Sea, released in 2006, topped the UK album charts and debuted at number four on the US Billboard 200. Their third album Perfect Symmetry was released in October 2008.
In May 2008, both Hopes and Fears (number 13) and Under the Iron Sea (number 8) were voted by readers of Q magazine as among the best British albums ever, with Keane, The Beatles, Oasis and Radiohead the only artists having two albums in the top 20. In 2009, Hopes and Fears was listed as the ninth best-selling album of the 2000s decade in the UK. Their EP Night Train was released in May 2010. Their fourth studio album Strangeland was released in May 2012 and peaked at number one on the UK Albums Chart.
Keane are known for using keyboards as the lead instrument instead of guitar, differentiating them from most other rock bands. The inclusion of a distorted piano effect in 2006 and various synthesisers were a common feature in their music which developed on the second and third albums. Keane have sold over 13 million records worldwide.
After the release of their compilation album The Best of Keane in 2013, the band took a hiatus, lasting nearly 5 years.
The band returned after the hiatus with new music, announcing their fifth studio album titled Cause and Effect on 6 June 2019 and releasing the lead single from the album "The Way I Feel". A collection of the songs were written by Tim Rice-Oxley during his divorce, and after discussions with Tom who had visited Tim the previous year, decided to proceed with recording the songs for the album. Cause and Effect was released on 20 September 2019. After the release of the album, the band embarked on the Cause and Effect Tour, visiting Europe and Latin America, before the remainder of the tour was postponed due to the COVID-19 pandemic.
History
1995–99: Early years and formation
Tom Chaplin and Tim Rice-Oxley became friends when very young. Chaplin's father David was the headmaster of Vinehall School in Robertsbridge, East Sussex (owned by Chaplin's family) for 25 years, the school all three attended until the age of 13. They later attended Tonbridge School in Kent, where Rice-Oxley met Dominic Scott; both discovered their liking for music. Richard Hughes, Keane's future drummer, also attended Tonbridge. Chaplin had learned to play the flute, but none considered music as a proper career at the time.
In 1995, while studying at University College London, Rice-Oxley formed a rock band with Scott and invited Hughes to play drums. The band, named Lotus Eaters, started as a cover band, playing songs by the members' favourite bands, including U2, Oasis, and The Beatles, and rehearsing at home.
After listening to Rice-Oxley's piano playing during a weekend at Virginia Water, Surrey in 1997, Chris Martin invited him to join his newly formed band Coldplay. However, Rice-Oxley declined because he did not want to leave The Lotus Eaters, stating "I was seriously interested, but Keane were already operational and Coldplay's keyboard player idea was dropped." Because of Martin's offer, and although Hughes and Scott were originally opposed to it, Chaplin joined the band in 1997, taking Rice-Oxley's place as vocalist and adding himself as the acoustic guitarist. Chaplin's recruitment also marked a change of name from The Lotus Eaters to Cherry Keane after a friend of Chaplin's mother, whom Rice-Oxley and Chaplin knew when they were young. At her death from cancer, she had left money for Chaplin's family. Chaplin commented: "I used some of the money to see me through the harder times with the music." The name was shortened to Keane soon afterward.
Chaplin departed for South Africa in Summer 1997 to work as a volunteer during his gap year. Chaplin's early experiences there later were reflected in the band's position for the Make Poverty History campaign. Returning a year later, in July 1998, following a meeting with friend David Lloyd Seaman, Hughes' first words when the band picked up Chaplin at the airport were "we've got a gig in 10 days." With original material, Keane made their debut live appearance at the Hope & Anchor pub on 13 July 1998. In this same year, Chaplin went to Edinburgh University to study for a degree in art history] However, he later quit his degree and moved to London to pursue a full-time musical career. After their debut performance, the band went touring London's pub gig circuit throughout 1998 and 1999.
1999–2003: Early releases and Scott's departure
In late 1999, and without a record deal, Keane recorded their first promotional single "Call Me What You Like". Released on CD format through Keane's label Zoomorphic, it was sold after live performances at the pubs where Keane used to play in early 2000. Only 500 copies were printed. The band have declared they are not against fans sharing tracks unreleased on CD, such as the demos "More Matey" and "Emily". Chaplin has said "they most likely see those recordings as an interesting extra to get hold of and I don't see it causing any damage. If it was the album we have coming out leaked early, then I'd probably feel differently." The EP was reviewed by Bec Rodwell from eFestivals who listed "Closer Now" as the best song of the record.
Four months after the "Call Me What You Like" re-recording session in February 2001, "Wolf at the Door" was released. Only 50 copies are known to have been made, using unlabelled CD-Rs. Both singles are considered highly valuable collectors' items by fans. In particular, "Wolf at the Door" has been known to be sold for over £1000 on eBay.
Because of the limited success Keane had at this time, Scott decided to leave the group a month after this single was released to continue his studies at the LSE. Before this, in November 2000, Keane had been invited by record producer James Sanger to his recording studio at Les Essarts, France, where the band recorded a number of tracks from August to November 2001, including "Bedshaped" and "This Is the Last Time". It was during these sessions that the idea of using a piano as lead instrument began to emerge. Sanger received a shared credit for four songs that appeared on Keane's debut album Hopes and Fears, including the song "Sunshine", the only one composed there.
The remaining members of the band returned to England in November 2001. Soon after, they signed to BMG to publish their music, but at this time they did not yet have a recording contract. 2002 was a hard year for Keane. All recording or live performances were stopped, and Scott's feeling of going nowhere was starting to tell on Rice-Oxley and Chaplin.
In December 2002, Keane returned to performing live. Luckily for the band, one gig at the Betsey Trotwood in London was attended by Simon Williams of Fierce Panda Records, the same man who had discovered Coldplay years previously. Williams offered to release the first commercial single by the band. This release was "Everybody's Changing", which Steve Lamacq named single of the week on Lamacq Live on 19 April 2003; the CD single was released on 12 May 2003.
As a result of the attention created by this release and because of the strong live reputation they had built through constant UK touring, a bidding war for the band ensued among major record labels. The band decided to sign with Island Records in Summer 2003. After first being attracted to the band by the considerable industry buzz then surrounding them and from hearing "Everybody's Changing" on the radio, the Island A&R, Ferdy Unger-Hamilton, told HitQuarters that he wanted to sign them after hearing the five songs "Everybody’s Changing", "This Is the Last Time", "She Has No Time", "Bend and Break" and "Somewhere Only We Know", saying "every one of them was brilliant...they had a fantastic live show [but] even if I hadn't been able to see them live, I would have tried to sign them anyway." According to Unger-Hamilton, Keane chose to sign with Island because they got on well with the A&R and were convinced that he did not want to change them in any way.
The band released "This Is the Last Time" on Fierce Panda, in October 2003 as the final release on that label.
2004–05: Hopes and Fears
With the release of their first major single, Keane began to achieve recognition in the United Kingdom and the United States, where "This Is the Last Time" was released and remained as the only single sold there until "Crystal Ball" in late 2006.
In January 2004, Keane was named the band most likely to achieve success in the coming year in the BBC's Sound of 2004 poll; additionally, this year is popularly referred to as one of the best years for new British music.
A month later, Keane's first release on Island was "Somewhere Only We Know", which reached number three on the UK Singles Chart in February 2004. On 4 May, a re-release of "Everybody's Changing" followed and featured new cover and b-sides; it reached number four in the UK Singles Chart.
Keane's debut album Hopes and Fears was released on 10 May 2004 in the UK, a day before the band started their first world tour. It debuted at number one on the UK Albums Chart and became the second best-selling British album of the year. It has been certified 9x platinum in the UK.
Drowned in Sound gave it 5 out of 10, accusing Keane of excessively imitating Coldplay (specifically comparing "Your Eyes Open" and "On a Day Like Today" with, respectively, "Daylight" and "Politik" on the band's album A Rush of Blood to the Head), criticising the album as being "stylistically all over the place" and its lyrics as being "immature" and "cringe-worthy". However, it gave credit to the album's "fine moments", praising lead single "Somewhere Only We Know" as "breathtaking".
The album has sold approximately 5.5 million copies worldwide. In the UK, it stayed in the top 75 of the UK Albums Chart for 72 weeks, appearing again on its 115th week.
The band won two awards at the 2005 BRIT Awards in February; Best British album for Hopes and Fears, and the British breakthrough act award as voted for by listeners of BBC Radio 1. Three months after, Rice-Oxley received the Ivor Novello award for songwriter of the year.
As members of the Make Poverty History, Keane performed "Somewhere Only We Know" and "Bedshaped" at the Live 8 concert, which took place in London on 2 July 2005. Keane are also patrons of War Child, and in September 2005, they recorded a cover version of Elton John's "Goodbye Yellow Brick Road" to the charity album Help: a Day in the Life. Previously, the band had recorded a cover of the Walker Brothers' "The Sun Ain't Gonna Shine Anymore". It also was released as a 7" single as a gift to members of the Keane emailing list.
Twenty years after the 1984 version, Band Aid (now called Band Aid 20) recorded a new version of "Do They Know It's Christmas?". Rice-Oxley and Chaplin both contributed vocals.
During the year, the band achieved minor recognition in the U.S. from their extensive touring, which culminated with a series of gigs as the opening act for U2. The group were nominated for a Grammy Award in the Best New Artist category along with Sugarland, John Legend, Ciara, and Fall Out Boy.
2006–07: Under the Iron Sea
In April 2005, in the middle of the Hopes and Fears tour, the band began recording Under the Iron Sea with producer Andy Green, who worked with them on Hopes and Fears. The band later recruited Mark "Spike" Stent for mixing duties. Recording took place in Helioscentric Studios, where Hopes and Fears was recorded. Additional recording was done at The Magic Shop Studios in New York.
The album's release was preceded by the release of the "Atlantic", a download-only music video and the lead single "Is It Any Wonder?", which reached number three on the UK Singles Chart. The song was nominated for a Grammy Award for Best Pop Performance by a Duo or Group with Vocals in 2007. The album had a worldwide release in June 2006 and was at number 1 in the UK Albums Chart for the first two weeks of its release. , it had sold more than 2.2 million copies. The third single from the album was "Crystal Ball", released on 21 August 2006, and reached number 20 in the UK Singles Chart. The fourth single from the album was "Nothing in My Way", released on 30 October 2006, which received particular success on Mexican commercial radio, charting on Top 3 on 13 January 2007 and staying a month on that chart. The band released the single "The Night Sky" in aid of the charity War Child.
Before the release of the album (in May 2006), Keane had started their second world tour. However, because of the extensive touring, on 22 August 2006, Chaplin announced he had admitted himself to a clinic for drinking and drug problems. This initially resulted in the cancellation of three gigs and postponement of their September tour. The entire North American tour was cancelled outright to allow continued treatment. As a result, the upcoming UK and European tours, scheduled for October and November 2006, were considered to be liable for possible postponement depending on Chaplin's treatment. Chaplin then left the Priory Clinic in London on 6 October, but he continued to receive treatment. The tour reached for the first time South American countries (Argentina, Chile and Brazil) and saw the band's third visit to Mexico in late April with four dates, playing at the downtown zócalo in Mexico City, as well their first visit to Monterrey and Guadalajara. On 7 July 2007, Keane played at the UK leg of Live Earth at Wembley Stadium, part of a series of gigs similar to Live 8, to highlight the threat of global warming. They performed "Somewhere Only We Know", "Is It Any Wonder?" and "Bedshaped". The Under the Iron Sea tour was brought to an end with performances in Oporto, Portugal, and at the Natural Music Festival in El Ejido, Spain on 3 August and 4 respectively.
In 2008, Under the Iron Sea was voted the 8th best British album of all time by a poll conducted by Q Magazine and HMV. In early October, Concert Live announced they were releasing a limited edition nine-CD set of every Keane live performance in the UK during October 2006 under the name Live 06.
2008–09: Perfect Symmetry
In a March 2007 video interview, Chaplin and Hughes spoke of wanting to take a more "organic" approach on album three, but played down suggestions about the use of guitars, referring to them as "a fun part of the live set" at present; however, the cover of "She Sells Sanctuary" became the first song recorded since "The Happy Soldier" (2001) to feature the instrument. Photographic updates to the Keane website implied the use of guitars in the album's recording sessions. Jesse Quin joined the band since this album as permanent studio and live member. He plays the bass, percussion, guitar, synths and backing vocals. On 25 August 2008, Keane appeared as studio guests on BBC 6 Music with Steve Lamacq where three of the new songs from Perfect Symmetry were played for the first time: "Spiralling", "The Lovers Are Losing", and "Better Than This".
The album was released on 13 October 2008, and reached number one on the UK Albums Chart on 19 October. It also reached number 7 on the Billboard 200 chart. In December 2008, it was voted "Best Album of the Year" by the readers, listeners and visitors of Q Magazine, Q Radio and Qthemusic.com. The song "Perfect Symmetry" was voted best track.
In November 2008, they started the Perfect Symmetry World Tour. On 2 April 2009, Keane became the first band ever to broadcast a live show in 3D. It was filmed at Abbey Road, the site of the world's first satellite broadcast (by The Beatles). Keane fans were prompted to buy 3D glasses along with the new 7" single "Better Than This" or also to hand-make their own glasses.
2010: Night Train
On 10 May 2010, Keane released the EP titled Night Train which, on 16 May became their fourth number 1 album in the UK. Night Train was recorded during the Perfect Symmetry World Tour. The band first named this record as a mini-album, then that changed to an EP. In an interview, Tim Rice-Oxley said that Night Train is "pretty much an album".
The songs "Stop for a Minute" and "Looking Back" feature Somali Canadian rapper K'naan. The EP includes a cover of the song "You've Got to Help Yourself" by Yellow Magic Orchestra, featuring vocals by Japanese funk MC Tigarah. The song "Your Love" features Keane's keyboardist Tim Rice-Oxley onlead vocals. The song "My Shadow" was featured in the Season 6 Grey's Anatomy episode "Shiny Happy People".
Night Train has been met with mixed reviews from critics. Ryan Brockington of the New York Post PopWrap called the work "game changing" while writing that the first single "Stop for a Minute" is "just as brilliant" as the album.
Supporting the Night Train EP, the band began on the Night Train Tour. which started with a show in Brixton, London at The Fridge on 12 May 2010. The tour includes a homecoming show at the Bedgebury Pinetum, outside the band's hometown of Battle. Also festival appearances in Europe followed with a tour of North America, concluding with an appearance at the Mile High Festival in Denver.
2011–13: Strangeland
After the end of Mt. Desolation Tour (alternative project by Tim and Jesse), Tim Rice-Oxley and Jesse Quin joined the other two members of the band to work on the pre-production of Strangeland.
It was announced on 3 February 2011 on the band's official website that Quin had become an official member of the band. He has worked with Keane since 2007.
Keane played a concert in Beijing, China on 13 April 2011 at the invitation of the fashion company Burberry. The band performed an acoustic session at the Wall of China. The band finished recording their fourth studio album on 12 January 2012 and finished mixing the record on 10 February. The album was recorded at Tim Rice-Oxley's Sea Fog Studios, in Polegate, East Sussex.
The Strangeland Tour started at De La Warr Pavilion in Bexhill-on-Sea, East Sussex on Friday, 9 March 2012.
The band released "Silenced by the Night", the album's lead single, worldwide except for the United Kingdom on 13 March 2012. Keane performed "Silenced By the Night" for the first time on 12 March on Jimmy Kimmel Live!. The song was sent to U.S. adult alternative radio stations on 26 March 2012. In the UK, the single was released on 15 April 2012.
The single "Disconnected" was released on 20 April 2012 in Germany, Switzerland and Austria, with the official worldwide release on 8 October 2012. The single "Sovereign Light Café" was released on 23 July 2012. The video was filmed in Bexhill-on-Sea in Sussex, England.
Helen Lear from The Music wrote that Strangeland "will still sound to some like middle-of-the-road indie-pop" and "pretty much what you would expect from Keane", but "the tempo is noticeably more upbeat and the style more diverse than previous albums" and "offers some more fun in a grown-up style that may attract new fans to take a listen." Chris Roberts of the BBC criticised Strangeland as "an unabashed scurry back to the comfort zone", and that "Keane lack blood, guts and muscle", with the album ultimately classed as "a somewhat saddening step backwards." John Murphy of musicOMH rated the album two stars out of five, where "melodies are stodgy and predictable", with "a whole bucket of cliches piled in", calling Strangeland "proof positive that playing it safe is not always the best option." Ian Gittins of Virgin Media felt the album was "major musical step back from the wilful experimentalism of Perfect Symmetry, a record that saw Keane hiring dance producer Stuart Price and leaping far out of their comfort zone", commenting that the album "finds them fairly back in the middle of the road".
2013–19: The Best of Keane and hiatus
Keane released the compilation album The Best of Keane in November 2013. Two new songs recorded during Strangeland were released from the compilation album; "Higher Than the Sun" was released on 28 September 2013 and "Won't Be Broken" was released on 20 January 2014.
On 20 October 2013, several publications, including The Sun and Digital Spy, claimed that Keane intended to split following the release of The Best of Keane, and reported that the band members were "taking a break...to pursue their own projects." On 21 October 2013, Tom Chaplin clarified on Real Radio Yorkshire that the band was not splitting up, but the band members would like to "take a bit of time out from being Keane" after being busy for the past few years.
In an interview conducted in late 2017 with a correspondent from The Sun, Tom Chaplin stated that he felt that he was too old to reform and relaunch the band. He recorded a solo album titled "The Wave", released on 14 October 2016. He released follow-up Christmas-themed second album Twelve Tales of Christmas on 17 November 2017. Rice-Oxley and Quin continued side project Mt. Desolation, releasing the album When the Night Calls on 25 May 2018.
During the band's hiatus, the band has reunited three times: on 8 August 2015, Chaplin and Rice-Oxley performed a Keane setlist at Battle Festival. On 11 September 2016, the band released a music video for "Tear Up This Town", written and recorded for the film A Monster Calls.
2019–21: Return and Cause and Effect
Toward the end of 2018, Keane posted a series of cryptic images onto their various social media accounts, hinting that the quartet were in the studio working on material.
On 17 January 2019, an article from The Sun revealed that the band are planning "to make a comeback after six years away" and that a "source close to the rockers has revealed the band is ready to work together again after 'putting their differences to one side'".
On 6 February, Keane posted an image of them on their various social media accounts. This was followed by several announcements on their Instagram and Facebook sites of various festivals in which the band would perform, including Cornbury Music Festival (6 July 2019), 4ever Valencia Fest in Spain (21 July 2019), MEO Marés Vivas in Portugal (19 July 2019), Noches del Botánico in Madrid (20 July 2019), and Hello Festival in The Netherlands (9 June).
On 15 March 2019, Keane performed their song "Somewhere Only We Know" on Comic Relief's Red Nose Day on BBC One with London Contemporary Voices. On 26 March 2019, Keane posted "We’ve been desperate to tell you that we’re busy making another album, which we’ll be releasing later this year" to their Facebook page.
On 17 May 2019, Keane released an EP titled Retroactive EP1 featuring "our favourite archived live performances, older demos and random treasures". On 6 June 2019, the band released the first new single from Cause and Effect, titled "The Way I Feel".
On 16 June 2019, Keane performed a set at the Isle of Wight Festival, being the closing act of the event. On 14 July 2019, Keane did a set at the British Summer Time concert in Hyde Park.
The band released a vertical edition of the music video for "The Way I Feel" on 22 July 2019, followed by an AI-generated lyric video for the same song which dropped in July 2019. On 30 July 2019, Keane announced they would co-headline three performances in Mexico with the band Travis, having sets in Monterrey (13 November 2019), Guadalajara (15 November 2019), and at the Corona Capital Festival in Mexico City (16-17 November 2019). Also on this day, the band announced they would perform at "Espaço Das Americas" in São Paulo on 1 December 2019. The band performed on the main stage at the Lokerse Feesten on 3 August 2019. The band streamed an acoustic session and interview on YouTube on 5 August 2019 at the Paste Studio in New York City. On 6 August 2019, the band performed live "The Way I Feel" on The Today Show. Later that day, they hinted at the release of their second single from Cause and Effect, titled "Love Too Much". On 8 August 2019, "Love Too Much" was released for streaming and debuted on The Breakfast Show on BBC Radio 2. Neil Z. Yeung of AllMusic gave the album a positive review, writing "Not a game-changing comeback by any means, Cause and Effect is instead a satisfying return to form that manages to gracefully age Keane by invigorating a familiar formula with wisdom and honesty learned over a dramatic, life-changing decade."
2021-present: Dirt EP
On 9 April 2021, Keane announced on their social media platforms they would be participating in Record Store Day 2021 Drop 2 on 17 July, with the special early release of their new EP "Dirt" on 12" vinyl, featuring four previously unreleased tracks from Cause and Effect sessions.
On 17 July, the video for the new title track "Dirt" from the EP was released onto YouTube and Apple Music, coinciding with the limited early release of the 12" vinyl of the EP for Record Store Day. This came with the announcement that the full release of the EP will be on 13 August 2021.
Collaborations
In November 2004, Keane collaborated with electronic DJ Faultline on a cover of the Elton John song "Goodbye Yellow Brick Road". Two years later, Rice-Oxley collaborated with Gwen Stefani as a co-writer of the song "Early Winter", released later in 2007 as a single, from her album The Sweet Escape. Stefani had been wishing to work with the band since 2005, and Rice-Oxley responded by saying "we might give it a go". Tom Chaplin collaborated with Rocco Deluca and the Burden on the song "Mercy". The band collaborated with Somali-Canadian rapper K'naan and Japanese Baile Funk singer Tigarah on the EP Night Train. In late 2009, Rice-Oxley collaborated with the Australian singer Kylie Minogue as co-writer of the song "Everything Is Beautiful", for Minogue's eleventh studio album "Aphrodite", released in June 2010.
The band collaborated with dance artist Chicane on a remix of the song "Bend & Break", renamed "Wake Up". It was featured on the artist's 2008 best-of compilation. In 2012, Tom Chaplin collaborated with the Dutch singer Laura Jansen on the song "Same Heart" for a Dutch charity radio programme. The track was featured on Jansen's second studio album Elba. In 2017, a version of Tom Chaplin's solo track "Solid Gold", featuring alternative pop singer JONES, was released as a single.
Musical style and themes
Tim Rice-Oxley and Dominic Scott were the main writers of the band's songs during their early years. When Scott left in 2001, Rice-Oxley became the main composer. However, Rice-Oxley credits the rest of the band on all compositions, so that royalties for song credits are shared.
Keane usually harbours an ample, reverberated, melodic, slow- to mid-tempo fully orchestrated sound, somehow reminiscent of Elton John's early and middle career, and their more introspective songs have brought comparisons to Suede and Jeff Buckley.
While guitars have been (minimally) present even in their early work, their appearance in the final mix has always been slight, and while Chaplin has stepped up as an almost full-time guitarist in the band, that instrument is never featured as prominently as to be more than barely noticed. For this matter, they have been dubbed as "the band with no guitars", thanks to their heavily piano-based sound. By using delay and distortion effects on their pianos and similar keyboards, they often create sounds that aren't immediately recognisable as piano. Rice-Oxley said during an interview in Los Angeles that they tend to think piano-related music is boring and what they really wanted to do was try something different. He referred to the piano as an odd instrument to form part of a rock band instrumentation, comparing it to The Beatles' set of instruments. Rice-Oxley's distortion piano has been key to most of Keane's multifaceted style and most definitely their most recognizable asset.
Keane have covered songs by music artists such as U2, Rufus Wainwright, Depeche Mode, Genesis, The Beatles, The Cult and Queen. Rice-Oxley said "I guess it's classic song writing that is the main influence rather than one band in particular – we love people like Nick Drake who can convey so much emotion and write songs and albums that will be loved and cherished for many years – the things that will be in people's record collections for their whole lives."
Members
Current members
Tom Chaplin – lead vocals, guitar, keyboards (1997–present)
Tim Rice-Oxley – keyboards, guitar, bass (1995–present), backing vocals (1997–present), lead vocals (1995–1997)
Richard Hughes – drums, percussion, backing vocals (1995–present)
Jesse Quin – bass, guitar, percussion, backing vocals (2011–present; touring musician 2007–2011)
Former members
Dominic Scott – electric guitar, backing vocals (1995–2001)
Timeline
Awards and nominations
Discography
Hopes and Fears (2004)
Under the Iron Sea (2006)
Perfect Symmetry (2008)
Strangeland (2012)
Cause and Effect (2019)
Concert tours
Hopes and Fears Tour (2004–05)
Under the Iron Sea Tour (2006–07)
Perfect Symmetry World Tour (2008–09)
Night Train Tour (2010)
Strangeland Tour (2012–13)
Cause and Effect Tour (2019–20)
Songs in other media
See also
Live Earth
Make Poverty History
References
Books
Mass media
Keane gig and record reviews on Record Overplayed webzine, 2003– 2005
SONIKA*. Sonika 53: El triunfo del Indie: Keane o entre la suerte y el talento (August 2006). Retrieved on 15 August 2006
Keane video interview with stv.tv/music, March 2007
External links
English alternative rock groups
English pop rock music groups
Post-Britpop groups
Brit Award winners
Interscope Records artists
Ivor Novello Award winners
Musical groups established in 1995
Musical quartets
Island Records artists
Fierce Panda Records artists
Musical groups from East Sussex
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"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
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"Keane (band)",
"1995-99: Early years and formation",
"What happen in 1995",
"while studying at University College London for a degree in classics, Rice-Oxley formed a rock band with Scott, and invited Hughes to play drums.",
"What music did they make",
"started as a cover band,",
"Are there any other interesting aspects about this article?",
"After listening to Rice-Oxley's piano playing during a weekend at Virginia Water, Surrey in 1997, Chris Martin invited him to join his newly formed band Coldplay."
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Did he join
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Did Rice-Oxley's join Coldplay?
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Keane (band)
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Tom Chaplin and Tim Rice-Oxley became friends when very young. Chaplin's father David was the headmaster of Vinehall School in Robertsbridge, East Sussex, (owned by Chaplin's family) for 25 years, the school all three attended until the age of 13. They later attended Tonbridge School in Kent, where Rice-Oxley met Dominic Scott; both of them discovered rapidly their liking for music. Richard Hughes, Keane's future drummer, also attended Tonbridge. Chaplin had also learned to play the flute but none of them considered music as a proper career at the time. In 1995, while studying at University College London for a degree in classics, Rice-Oxley formed a rock band with Scott, and invited Hughes to play drums. The band, named "Lotus Eaters", started as a cover band, playing songs by the members' favourite bands, including U2, Oasis, and The Beatles, and rehearsing at home. After listening to Rice-Oxley's piano playing during a weekend at Virginia Water, Surrey in 1997, Chris Martin invited him to join his newly formed band Coldplay. However, Rice-Oxley declined because he did not want to leave "The Lotus Eaters", stating, "I was seriously interested, but Keane were already operational and Coldplay's keyboard player idea was dropped." Because of Martin's offer, and although Hughes and Scott were originally opposed to it, Chaplin joined the band in 1997, taking Rice-Oxley's place as vocalist and adding himself as the acoustic guitarist. Chaplin's recruitment also marked a change of name from "The Lotus Eaters" to "Cherry Keane", after a friend of Chaplin's mother, whom Rice-Oxley and Chaplin knew when they were young. She took care of them and would tell them to go for their dreams. At her death from cancer, she had left money for Chaplin's family. Chaplin commented: "I used some of the money to see me through the harder times with the music." The name was shortened to Keane soon afterward. Chaplin departed for South Africa in the summer of 1997 to work as a volunteer during his gap year. Chaplin's early experiences there would later be reflected in the band's position for the Make Poverty History campaign. Returning a year later, in July 1998, following a meeting with friend David Lloyd Seaman, Hughes' first words when the band picked up Chaplin at the airport were, "we've got a gig in ten days." With original material, Keane made their debut live appearance at the "Hope & Anchor" pub on 13 July 1998. In this same year, Chaplin went to Edinburgh University to study for a degree in art history. However, he later quit his degree and moved to London in order to pursue a full-time musical career with his friends. After their debut performance, the band went touring London's pub gig circuit throughout 1998 and 1999. CANNOTANSWER
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Rice-Oxley declined because he did not want to leave "The Lotus Eaters",
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Keane are an English alternative rock band from Battle, East Sussex, formed in 1995. They met whilst at Tonbridge School together. The band currently comprises Tom Chaplin (lead vocals, electric/acoustic guitar), Tim Rice-Oxley (piano, synthesisers, bass guitar, backing vocals), Richard Hughes (drums, percussion, backing vocals), and Jesse Quin (bass guitar, acoustic/electric guitar, backing vocals). Their original line-up included founder and guitarist Dominic Scott, who left in 2001.
Keane achieved mainstream, international success with the release of their debut album Hopes and Fears in 2004. Topping the UK charts, the album won the 2005 Brit Award for Best British Album and was the second best-selling British album of 2004. It is one of the best-selling albums in UK chart history. Their second album, Under the Iron Sea, released in 2006, topped the UK album charts and debuted at number four on the US Billboard 200. Their third album Perfect Symmetry was released in October 2008.
In May 2008, both Hopes and Fears (number 13) and Under the Iron Sea (number 8) were voted by readers of Q magazine as among the best British albums ever, with Keane, The Beatles, Oasis and Radiohead the only artists having two albums in the top 20. In 2009, Hopes and Fears was listed as the ninth best-selling album of the 2000s decade in the UK. Their EP Night Train was released in May 2010. Their fourth studio album Strangeland was released in May 2012 and peaked at number one on the UK Albums Chart.
Keane are known for using keyboards as the lead instrument instead of guitar, differentiating them from most other rock bands. The inclusion of a distorted piano effect in 2006 and various synthesisers were a common feature in their music which developed on the second and third albums. Keane have sold over 13 million records worldwide.
After the release of their compilation album The Best of Keane in 2013, the band took a hiatus, lasting nearly 5 years.
The band returned after the hiatus with new music, announcing their fifth studio album titled Cause and Effect on 6 June 2019 and releasing the lead single from the album "The Way I Feel". A collection of the songs were written by Tim Rice-Oxley during his divorce, and after discussions with Tom who had visited Tim the previous year, decided to proceed with recording the songs for the album. Cause and Effect was released on 20 September 2019. After the release of the album, the band embarked on the Cause and Effect Tour, visiting Europe and Latin America, before the remainder of the tour was postponed due to the COVID-19 pandemic.
History
1995–99: Early years and formation
Tom Chaplin and Tim Rice-Oxley became friends when very young. Chaplin's father David was the headmaster of Vinehall School in Robertsbridge, East Sussex (owned by Chaplin's family) for 25 years, the school all three attended until the age of 13. They later attended Tonbridge School in Kent, where Rice-Oxley met Dominic Scott; both discovered their liking for music. Richard Hughes, Keane's future drummer, also attended Tonbridge. Chaplin had learned to play the flute, but none considered music as a proper career at the time.
In 1995, while studying at University College London, Rice-Oxley formed a rock band with Scott and invited Hughes to play drums. The band, named Lotus Eaters, started as a cover band, playing songs by the members' favourite bands, including U2, Oasis, and The Beatles, and rehearsing at home.
After listening to Rice-Oxley's piano playing during a weekend at Virginia Water, Surrey in 1997, Chris Martin invited him to join his newly formed band Coldplay. However, Rice-Oxley declined because he did not want to leave The Lotus Eaters, stating "I was seriously interested, but Keane were already operational and Coldplay's keyboard player idea was dropped." Because of Martin's offer, and although Hughes and Scott were originally opposed to it, Chaplin joined the band in 1997, taking Rice-Oxley's place as vocalist and adding himself as the acoustic guitarist. Chaplin's recruitment also marked a change of name from The Lotus Eaters to Cherry Keane after a friend of Chaplin's mother, whom Rice-Oxley and Chaplin knew when they were young. At her death from cancer, she had left money for Chaplin's family. Chaplin commented: "I used some of the money to see me through the harder times with the music." The name was shortened to Keane soon afterward.
Chaplin departed for South Africa in Summer 1997 to work as a volunteer during his gap year. Chaplin's early experiences there later were reflected in the band's position for the Make Poverty History campaign. Returning a year later, in July 1998, following a meeting with friend David Lloyd Seaman, Hughes' first words when the band picked up Chaplin at the airport were "we've got a gig in 10 days." With original material, Keane made their debut live appearance at the Hope & Anchor pub on 13 July 1998. In this same year, Chaplin went to Edinburgh University to study for a degree in art history] However, he later quit his degree and moved to London to pursue a full-time musical career. After their debut performance, the band went touring London's pub gig circuit throughout 1998 and 1999.
1999–2003: Early releases and Scott's departure
In late 1999, and without a record deal, Keane recorded their first promotional single "Call Me What You Like". Released on CD format through Keane's label Zoomorphic, it was sold after live performances at the pubs where Keane used to play in early 2000. Only 500 copies were printed. The band have declared they are not against fans sharing tracks unreleased on CD, such as the demos "More Matey" and "Emily". Chaplin has said "they most likely see those recordings as an interesting extra to get hold of and I don't see it causing any damage. If it was the album we have coming out leaked early, then I'd probably feel differently." The EP was reviewed by Bec Rodwell from eFestivals who listed "Closer Now" as the best song of the record.
Four months after the "Call Me What You Like" re-recording session in February 2001, "Wolf at the Door" was released. Only 50 copies are known to have been made, using unlabelled CD-Rs. Both singles are considered highly valuable collectors' items by fans. In particular, "Wolf at the Door" has been known to be sold for over £1000 on eBay.
Because of the limited success Keane had at this time, Scott decided to leave the group a month after this single was released to continue his studies at the LSE. Before this, in November 2000, Keane had been invited by record producer James Sanger to his recording studio at Les Essarts, France, where the band recorded a number of tracks from August to November 2001, including "Bedshaped" and "This Is the Last Time". It was during these sessions that the idea of using a piano as lead instrument began to emerge. Sanger received a shared credit for four songs that appeared on Keane's debut album Hopes and Fears, including the song "Sunshine", the only one composed there.
The remaining members of the band returned to England in November 2001. Soon after, they signed to BMG to publish their music, but at this time they did not yet have a recording contract. 2002 was a hard year for Keane. All recording or live performances were stopped, and Scott's feeling of going nowhere was starting to tell on Rice-Oxley and Chaplin.
In December 2002, Keane returned to performing live. Luckily for the band, one gig at the Betsey Trotwood in London was attended by Simon Williams of Fierce Panda Records, the same man who had discovered Coldplay years previously. Williams offered to release the first commercial single by the band. This release was "Everybody's Changing", which Steve Lamacq named single of the week on Lamacq Live on 19 April 2003; the CD single was released on 12 May 2003.
As a result of the attention created by this release and because of the strong live reputation they had built through constant UK touring, a bidding war for the band ensued among major record labels. The band decided to sign with Island Records in Summer 2003. After first being attracted to the band by the considerable industry buzz then surrounding them and from hearing "Everybody's Changing" on the radio, the Island A&R, Ferdy Unger-Hamilton, told HitQuarters that he wanted to sign them after hearing the five songs "Everybody’s Changing", "This Is the Last Time", "She Has No Time", "Bend and Break" and "Somewhere Only We Know", saying "every one of them was brilliant...they had a fantastic live show [but] even if I hadn't been able to see them live, I would have tried to sign them anyway." According to Unger-Hamilton, Keane chose to sign with Island because they got on well with the A&R and were convinced that he did not want to change them in any way.
The band released "This Is the Last Time" on Fierce Panda, in October 2003 as the final release on that label.
2004–05: Hopes and Fears
With the release of their first major single, Keane began to achieve recognition in the United Kingdom and the United States, where "This Is the Last Time" was released and remained as the only single sold there until "Crystal Ball" in late 2006.
In January 2004, Keane was named the band most likely to achieve success in the coming year in the BBC's Sound of 2004 poll; additionally, this year is popularly referred to as one of the best years for new British music.
A month later, Keane's first release on Island was "Somewhere Only We Know", which reached number three on the UK Singles Chart in February 2004. On 4 May, a re-release of "Everybody's Changing" followed and featured new cover and b-sides; it reached number four in the UK Singles Chart.
Keane's debut album Hopes and Fears was released on 10 May 2004 in the UK, a day before the band started their first world tour. It debuted at number one on the UK Albums Chart and became the second best-selling British album of the year. It has been certified 9x platinum in the UK.
Drowned in Sound gave it 5 out of 10, accusing Keane of excessively imitating Coldplay (specifically comparing "Your Eyes Open" and "On a Day Like Today" with, respectively, "Daylight" and "Politik" on the band's album A Rush of Blood to the Head), criticising the album as being "stylistically all over the place" and its lyrics as being "immature" and "cringe-worthy". However, it gave credit to the album's "fine moments", praising lead single "Somewhere Only We Know" as "breathtaking".
The album has sold approximately 5.5 million copies worldwide. In the UK, it stayed in the top 75 of the UK Albums Chart for 72 weeks, appearing again on its 115th week.
The band won two awards at the 2005 BRIT Awards in February; Best British album for Hopes and Fears, and the British breakthrough act award as voted for by listeners of BBC Radio 1. Three months after, Rice-Oxley received the Ivor Novello award for songwriter of the year.
As members of the Make Poverty History, Keane performed "Somewhere Only We Know" and "Bedshaped" at the Live 8 concert, which took place in London on 2 July 2005. Keane are also patrons of War Child, and in September 2005, they recorded a cover version of Elton John's "Goodbye Yellow Brick Road" to the charity album Help: a Day in the Life. Previously, the band had recorded a cover of the Walker Brothers' "The Sun Ain't Gonna Shine Anymore". It also was released as a 7" single as a gift to members of the Keane emailing list.
Twenty years after the 1984 version, Band Aid (now called Band Aid 20) recorded a new version of "Do They Know It's Christmas?". Rice-Oxley and Chaplin both contributed vocals.
During the year, the band achieved minor recognition in the U.S. from their extensive touring, which culminated with a series of gigs as the opening act for U2. The group were nominated for a Grammy Award in the Best New Artist category along with Sugarland, John Legend, Ciara, and Fall Out Boy.
2006–07: Under the Iron Sea
In April 2005, in the middle of the Hopes and Fears tour, the band began recording Under the Iron Sea with producer Andy Green, who worked with them on Hopes and Fears. The band later recruited Mark "Spike" Stent for mixing duties. Recording took place in Helioscentric Studios, where Hopes and Fears was recorded. Additional recording was done at The Magic Shop Studios in New York.
The album's release was preceded by the release of the "Atlantic", a download-only music video and the lead single "Is It Any Wonder?", which reached number three on the UK Singles Chart. The song was nominated for a Grammy Award for Best Pop Performance by a Duo or Group with Vocals in 2007. The album had a worldwide release in June 2006 and was at number 1 in the UK Albums Chart for the first two weeks of its release. , it had sold more than 2.2 million copies. The third single from the album was "Crystal Ball", released on 21 August 2006, and reached number 20 in the UK Singles Chart. The fourth single from the album was "Nothing in My Way", released on 30 October 2006, which received particular success on Mexican commercial radio, charting on Top 3 on 13 January 2007 and staying a month on that chart. The band released the single "The Night Sky" in aid of the charity War Child.
Before the release of the album (in May 2006), Keane had started their second world tour. However, because of the extensive touring, on 22 August 2006, Chaplin announced he had admitted himself to a clinic for drinking and drug problems. This initially resulted in the cancellation of three gigs and postponement of their September tour. The entire North American tour was cancelled outright to allow continued treatment. As a result, the upcoming UK and European tours, scheduled for October and November 2006, were considered to be liable for possible postponement depending on Chaplin's treatment. Chaplin then left the Priory Clinic in London on 6 October, but he continued to receive treatment. The tour reached for the first time South American countries (Argentina, Chile and Brazil) and saw the band's third visit to Mexico in late April with four dates, playing at the downtown zócalo in Mexico City, as well their first visit to Monterrey and Guadalajara. On 7 July 2007, Keane played at the UK leg of Live Earth at Wembley Stadium, part of a series of gigs similar to Live 8, to highlight the threat of global warming. They performed "Somewhere Only We Know", "Is It Any Wonder?" and "Bedshaped". The Under the Iron Sea tour was brought to an end with performances in Oporto, Portugal, and at the Natural Music Festival in El Ejido, Spain on 3 August and 4 respectively.
In 2008, Under the Iron Sea was voted the 8th best British album of all time by a poll conducted by Q Magazine and HMV. In early October, Concert Live announced they were releasing a limited edition nine-CD set of every Keane live performance in the UK during October 2006 under the name Live 06.
2008–09: Perfect Symmetry
In a March 2007 video interview, Chaplin and Hughes spoke of wanting to take a more "organic" approach on album three, but played down suggestions about the use of guitars, referring to them as "a fun part of the live set" at present; however, the cover of "She Sells Sanctuary" became the first song recorded since "The Happy Soldier" (2001) to feature the instrument. Photographic updates to the Keane website implied the use of guitars in the album's recording sessions. Jesse Quin joined the band since this album as permanent studio and live member. He plays the bass, percussion, guitar, synths and backing vocals. On 25 August 2008, Keane appeared as studio guests on BBC 6 Music with Steve Lamacq where three of the new songs from Perfect Symmetry were played for the first time: "Spiralling", "The Lovers Are Losing", and "Better Than This".
The album was released on 13 October 2008, and reached number one on the UK Albums Chart on 19 October. It also reached number 7 on the Billboard 200 chart. In December 2008, it was voted "Best Album of the Year" by the readers, listeners and visitors of Q Magazine, Q Radio and Qthemusic.com. The song "Perfect Symmetry" was voted best track.
In November 2008, they started the Perfect Symmetry World Tour. On 2 April 2009, Keane became the first band ever to broadcast a live show in 3D. It was filmed at Abbey Road, the site of the world's first satellite broadcast (by The Beatles). Keane fans were prompted to buy 3D glasses along with the new 7" single "Better Than This" or also to hand-make their own glasses.
2010: Night Train
On 10 May 2010, Keane released the EP titled Night Train which, on 16 May became their fourth number 1 album in the UK. Night Train was recorded during the Perfect Symmetry World Tour. The band first named this record as a mini-album, then that changed to an EP. In an interview, Tim Rice-Oxley said that Night Train is "pretty much an album".
The songs "Stop for a Minute" and "Looking Back" feature Somali Canadian rapper K'naan. The EP includes a cover of the song "You've Got to Help Yourself" by Yellow Magic Orchestra, featuring vocals by Japanese funk MC Tigarah. The song "Your Love" features Keane's keyboardist Tim Rice-Oxley onlead vocals. The song "My Shadow" was featured in the Season 6 Grey's Anatomy episode "Shiny Happy People".
Night Train has been met with mixed reviews from critics. Ryan Brockington of the New York Post PopWrap called the work "game changing" while writing that the first single "Stop for a Minute" is "just as brilliant" as the album.
Supporting the Night Train EP, the band began on the Night Train Tour. which started with a show in Brixton, London at The Fridge on 12 May 2010. The tour includes a homecoming show at the Bedgebury Pinetum, outside the band's hometown of Battle. Also festival appearances in Europe followed with a tour of North America, concluding with an appearance at the Mile High Festival in Denver.
2011–13: Strangeland
After the end of Mt. Desolation Tour (alternative project by Tim and Jesse), Tim Rice-Oxley and Jesse Quin joined the other two members of the band to work on the pre-production of Strangeland.
It was announced on 3 February 2011 on the band's official website that Quin had become an official member of the band. He has worked with Keane since 2007.
Keane played a concert in Beijing, China on 13 April 2011 at the invitation of the fashion company Burberry. The band performed an acoustic session at the Wall of China. The band finished recording their fourth studio album on 12 January 2012 and finished mixing the record on 10 February. The album was recorded at Tim Rice-Oxley's Sea Fog Studios, in Polegate, East Sussex.
The Strangeland Tour started at De La Warr Pavilion in Bexhill-on-Sea, East Sussex on Friday, 9 March 2012.
The band released "Silenced by the Night", the album's lead single, worldwide except for the United Kingdom on 13 March 2012. Keane performed "Silenced By the Night" for the first time on 12 March on Jimmy Kimmel Live!. The song was sent to U.S. adult alternative radio stations on 26 March 2012. In the UK, the single was released on 15 April 2012.
The single "Disconnected" was released on 20 April 2012 in Germany, Switzerland and Austria, with the official worldwide release on 8 October 2012. The single "Sovereign Light Café" was released on 23 July 2012. The video was filmed in Bexhill-on-Sea in Sussex, England.
Helen Lear from The Music wrote that Strangeland "will still sound to some like middle-of-the-road indie-pop" and "pretty much what you would expect from Keane", but "the tempo is noticeably more upbeat and the style more diverse than previous albums" and "offers some more fun in a grown-up style that may attract new fans to take a listen." Chris Roberts of the BBC criticised Strangeland as "an unabashed scurry back to the comfort zone", and that "Keane lack blood, guts and muscle", with the album ultimately classed as "a somewhat saddening step backwards." John Murphy of musicOMH rated the album two stars out of five, where "melodies are stodgy and predictable", with "a whole bucket of cliches piled in", calling Strangeland "proof positive that playing it safe is not always the best option." Ian Gittins of Virgin Media felt the album was "major musical step back from the wilful experimentalism of Perfect Symmetry, a record that saw Keane hiring dance producer Stuart Price and leaping far out of their comfort zone", commenting that the album "finds them fairly back in the middle of the road".
2013–19: The Best of Keane and hiatus
Keane released the compilation album The Best of Keane in November 2013. Two new songs recorded during Strangeland were released from the compilation album; "Higher Than the Sun" was released on 28 September 2013 and "Won't Be Broken" was released on 20 January 2014.
On 20 October 2013, several publications, including The Sun and Digital Spy, claimed that Keane intended to split following the release of The Best of Keane, and reported that the band members were "taking a break...to pursue their own projects." On 21 October 2013, Tom Chaplin clarified on Real Radio Yorkshire that the band was not splitting up, but the band members would like to "take a bit of time out from being Keane" after being busy for the past few years.
In an interview conducted in late 2017 with a correspondent from The Sun, Tom Chaplin stated that he felt that he was too old to reform and relaunch the band. He recorded a solo album titled "The Wave", released on 14 October 2016. He released follow-up Christmas-themed second album Twelve Tales of Christmas on 17 November 2017. Rice-Oxley and Quin continued side project Mt. Desolation, releasing the album When the Night Calls on 25 May 2018.
During the band's hiatus, the band has reunited three times: on 8 August 2015, Chaplin and Rice-Oxley performed a Keane setlist at Battle Festival. On 11 September 2016, the band released a music video for "Tear Up This Town", written and recorded for the film A Monster Calls.
2019–21: Return and Cause and Effect
Toward the end of 2018, Keane posted a series of cryptic images onto their various social media accounts, hinting that the quartet were in the studio working on material.
On 17 January 2019, an article from The Sun revealed that the band are planning "to make a comeback after six years away" and that a "source close to the rockers has revealed the band is ready to work together again after 'putting their differences to one side'".
On 6 February, Keane posted an image of them on their various social media accounts. This was followed by several announcements on their Instagram and Facebook sites of various festivals in which the band would perform, including Cornbury Music Festival (6 July 2019), 4ever Valencia Fest in Spain (21 July 2019), MEO Marés Vivas in Portugal (19 July 2019), Noches del Botánico in Madrid (20 July 2019), and Hello Festival in The Netherlands (9 June).
On 15 March 2019, Keane performed their song "Somewhere Only We Know" on Comic Relief's Red Nose Day on BBC One with London Contemporary Voices. On 26 March 2019, Keane posted "We’ve been desperate to tell you that we’re busy making another album, which we’ll be releasing later this year" to their Facebook page.
On 17 May 2019, Keane released an EP titled Retroactive EP1 featuring "our favourite archived live performances, older demos and random treasures". On 6 June 2019, the band released the first new single from Cause and Effect, titled "The Way I Feel".
On 16 June 2019, Keane performed a set at the Isle of Wight Festival, being the closing act of the event. On 14 July 2019, Keane did a set at the British Summer Time concert in Hyde Park.
The band released a vertical edition of the music video for "The Way I Feel" on 22 July 2019, followed by an AI-generated lyric video for the same song which dropped in July 2019. On 30 July 2019, Keane announced they would co-headline three performances in Mexico with the band Travis, having sets in Monterrey (13 November 2019), Guadalajara (15 November 2019), and at the Corona Capital Festival in Mexico City (16-17 November 2019). Also on this day, the band announced they would perform at "Espaço Das Americas" in São Paulo on 1 December 2019. The band performed on the main stage at the Lokerse Feesten on 3 August 2019. The band streamed an acoustic session and interview on YouTube on 5 August 2019 at the Paste Studio in New York City. On 6 August 2019, the band performed live "The Way I Feel" on The Today Show. Later that day, they hinted at the release of their second single from Cause and Effect, titled "Love Too Much". On 8 August 2019, "Love Too Much" was released for streaming and debuted on The Breakfast Show on BBC Radio 2. Neil Z. Yeung of AllMusic gave the album a positive review, writing "Not a game-changing comeback by any means, Cause and Effect is instead a satisfying return to form that manages to gracefully age Keane by invigorating a familiar formula with wisdom and honesty learned over a dramatic, life-changing decade."
2021-present: Dirt EP
On 9 April 2021, Keane announced on their social media platforms they would be participating in Record Store Day 2021 Drop 2 on 17 July, with the special early release of their new EP "Dirt" on 12" vinyl, featuring four previously unreleased tracks from Cause and Effect sessions.
On 17 July, the video for the new title track "Dirt" from the EP was released onto YouTube and Apple Music, coinciding with the limited early release of the 12" vinyl of the EP for Record Store Day. This came with the announcement that the full release of the EP will be on 13 August 2021.
Collaborations
In November 2004, Keane collaborated with electronic DJ Faultline on a cover of the Elton John song "Goodbye Yellow Brick Road". Two years later, Rice-Oxley collaborated with Gwen Stefani as a co-writer of the song "Early Winter", released later in 2007 as a single, from her album The Sweet Escape. Stefani had been wishing to work with the band since 2005, and Rice-Oxley responded by saying "we might give it a go". Tom Chaplin collaborated with Rocco Deluca and the Burden on the song "Mercy". The band collaborated with Somali-Canadian rapper K'naan and Japanese Baile Funk singer Tigarah on the EP Night Train. In late 2009, Rice-Oxley collaborated with the Australian singer Kylie Minogue as co-writer of the song "Everything Is Beautiful", for Minogue's eleventh studio album "Aphrodite", released in June 2010.
The band collaborated with dance artist Chicane on a remix of the song "Bend & Break", renamed "Wake Up". It was featured on the artist's 2008 best-of compilation. In 2012, Tom Chaplin collaborated with the Dutch singer Laura Jansen on the song "Same Heart" for a Dutch charity radio programme. The track was featured on Jansen's second studio album Elba. In 2017, a version of Tom Chaplin's solo track "Solid Gold", featuring alternative pop singer JONES, was released as a single.
Musical style and themes
Tim Rice-Oxley and Dominic Scott were the main writers of the band's songs during their early years. When Scott left in 2001, Rice-Oxley became the main composer. However, Rice-Oxley credits the rest of the band on all compositions, so that royalties for song credits are shared.
Keane usually harbours an ample, reverberated, melodic, slow- to mid-tempo fully orchestrated sound, somehow reminiscent of Elton John's early and middle career, and their more introspective songs have brought comparisons to Suede and Jeff Buckley.
While guitars have been (minimally) present even in their early work, their appearance in the final mix has always been slight, and while Chaplin has stepped up as an almost full-time guitarist in the band, that instrument is never featured as prominently as to be more than barely noticed. For this matter, they have been dubbed as "the band with no guitars", thanks to their heavily piano-based sound. By using delay and distortion effects on their pianos and similar keyboards, they often create sounds that aren't immediately recognisable as piano. Rice-Oxley said during an interview in Los Angeles that they tend to think piano-related music is boring and what they really wanted to do was try something different. He referred to the piano as an odd instrument to form part of a rock band instrumentation, comparing it to The Beatles' set of instruments. Rice-Oxley's distortion piano has been key to most of Keane's multifaceted style and most definitely their most recognizable asset.
Keane have covered songs by music artists such as U2, Rufus Wainwright, Depeche Mode, Genesis, The Beatles, The Cult and Queen. Rice-Oxley said "I guess it's classic song writing that is the main influence rather than one band in particular – we love people like Nick Drake who can convey so much emotion and write songs and albums that will be loved and cherished for many years – the things that will be in people's record collections for their whole lives."
Members
Current members
Tom Chaplin – lead vocals, guitar, keyboards (1997–present)
Tim Rice-Oxley – keyboards, guitar, bass (1995–present), backing vocals (1997–present), lead vocals (1995–1997)
Richard Hughes – drums, percussion, backing vocals (1995–present)
Jesse Quin – bass, guitar, percussion, backing vocals (2011–present; touring musician 2007–2011)
Former members
Dominic Scott – electric guitar, backing vocals (1995–2001)
Timeline
Awards and nominations
Discography
Hopes and Fears (2004)
Under the Iron Sea (2006)
Perfect Symmetry (2008)
Strangeland (2012)
Cause and Effect (2019)
Concert tours
Hopes and Fears Tour (2004–05)
Under the Iron Sea Tour (2006–07)
Perfect Symmetry World Tour (2008–09)
Night Train Tour (2010)
Strangeland Tour (2012–13)
Cause and Effect Tour (2019–20)
Songs in other media
See also
Live Earth
Make Poverty History
References
Books
Mass media
Keane gig and record reviews on Record Overplayed webzine, 2003– 2005
SONIKA*. Sonika 53: El triunfo del Indie: Keane o entre la suerte y el talento (August 2006). Retrieved on 15 August 2006
Keane video interview with stv.tv/music, March 2007
External links
English alternative rock groups
English pop rock music groups
Post-Britpop groups
Brit Award winners
Interscope Records artists
Ivor Novello Award winners
Musical groups established in 1995
Musical quartets
Island Records artists
Fierce Panda Records artists
Musical groups from East Sussex
| false |
[
"Hagen Friedrich Liebing (18 February 1961 – 25 September 2016), nicknamed \"The Incredible Hagen\", was a German musician and journalist, best known as the bassist for the influential punk band Die Ärzte. \n\nIn 1986, drummer Bela B invited him to join Die Ärzte. The two knew each other from early Berlin punk days. The band disbanded in 1988. Liebing tried his hand at journalism shortly thereafter. He wrote several articles for Der Tagesspiegel, and was the senior music editor of Tip Berlin since the mid-1990s. \n\nWhen Die Ärzte reunited in 1993, Liebing did not join them. However, he did join them on stage as a special guest in 2002. In 2003, he published his memoirs The Incredible Hagen – My Years with Die Ärzte. From 2003 to 2010, he headed the Press and Public Relations at the football club Tennis Borussia Berlin. \n\nLiebing died in Berlin on 25 September 2016, after a battle with a brain tumor.\n\nReferences\n\n1961 births\n2016 deaths\nMusicians from Berlin\nGerman male musicians\nGerman journalists\nDeaths from cancer in Germany\nDeaths from brain tumor",
"John Dowie (12 December 1955 – 22 January 2016) was a football midfielder, who played in the Football League and Scottish Football League during the 1970s and 1980s.\n\nDowie was at Rangers as a schoolboy but did not make the grade there and moved to Fulham in 1973, being at the club when they reached the 1975 FA Cup Final, although he did not play in the game.\n\nIn 1977, he left to join Celtic, making his debut for them on 10 September 1977 against Rangers. He also appeared for the Bhoys against Rangers in the 1978 Scottish League Cup Final. He did not make an appearance for the club in 1978-79 and left to join Doncaster Rovers in April 1979.\n\nDowie played a total of 25 senior games for Rovers, scoring 2 goals. He next moved to play for Clyde, making his league debut in the 1981-82 season. After Clyde he moved to Australia to play for the Doveton club.\n\nReferences\n\n1955 births\n2016 deaths\nEnglish Football League players\nScottish Football League players\nNorth American Soccer League (1968–1984) players\nRangers F.C. players\nFulham F.C. players\nCeltic F.C. players\nHouston Hurricane players\nDoncaster Rovers F.C. players\nClyde F.C. players\nAssociation football midfielders\nSportspeople from Hamilton, South Lanarkshire\nExpatriate soccer players in the United States\nScottish footballers\nScottish expatriate sportspeople in the United States\nScottish expatriate footballers"
] |
[
"Stephen Hillenburg",
"Early career"
] |
C_6201d5b174b24dec99fc9ee08806de24_1
|
What did he start his career in?
| 1 |
What did Stephen Hillenburg start his career in?
|
Stephen Hillenburg
|
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California that is dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession. While working there, he was asked by one of the educational directors if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters--including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but was turned down by the publishers that he approached. At one point during his tenure with the Orange County Marine Institute, Hillenburg started going to animation festivals such as the International Tournee of Animation and Spike and Mike's Festival of Animation where, at one of those, films made by California Institute of the Arts (colloquially called CalArts) students were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator. In 1989, Hillenburg enrolled in the Experimental Animation Program at CalArts. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considers his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. CANNOTANSWER
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park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children.
|
Stephen McDannell Hillenburg (August 21, 1961 – November 26, 2018) was an American animator, writer, producer, and marine science educator. Hillenburg created the Nickelodeon animated television series SpongeBob SquarePants, on which he served as the showrunner for the first three seasons of the show, and has become the fifth-longest-running American animated series.
Born in Lawton, Oklahoma, and raised in Anaheim, California, Hillenburg became fascinated with the ocean as a child and developed an interest in art. He started his professional career in 1984, instructing marine biology, at the Orange County Marine Institute, where he wrote The Intertidal Zone, an informative picture book about tide-pool animals, which he used to educate his students. In 1989, two years after leaving teaching, Hillenburg enrolled at the California Institute of the Arts to pursue a career in animation. He was later offered a job on the Nickelodeon animated television series Rocko's Modern Life (19931996) after his success with The Green Beret and Wormholes (both 1992), short films that he made while studying animation.
In 1994, Hillenburg began developing The Intertidal Zone characters and concepts for what became SpongeBob SquarePants. The show has aired continuously since its premiere in 1999. He also directed The SpongeBob SquarePants Movie (2004), which he originally intended to be the series finale. Hillenburg resigned as showrunner, but Nickelodeon continued to produce more episodes after he departed the series. He resumed making short films, with Hollywood Blvd., USA in 2013, but continued to be credited as an executive producer for SpongeBob SquarePants. Hillenburg co-wrote the story for the second film adaptation of the series, The SpongeBob Movie: Sponge Out of Water, which was released in 2015.
Besides his two Emmy Awards and six Annie Awards for SpongeBob SquarePants, Hillenburg also received other recognition, such as an accolade from Heal the Bay for his efforts on elevating marine life awareness, and the Television Animation Award from the National Cartoonists Society. Hillenburg announced he was diagnosed with amyotrophic lateral sclerosis (ALS) in 2017, but stated he would continue to work on SpongeBob SquarePants as long as possible. He died on November 26, 2018, at the age of 57.
Early life and education
Stephen McDannell Hillenburg was born on August21, 1961 at Fort Sill, a United States Army post in Lawton, Oklahoma, where his father, Kelly N. Hillenburg Jr., worked for the U.S. military. His mother, Nancy (née Dufour), taught visually impaired students. When he was a year old, the family moved to Orange County, California, where his father began a career as a draftsman and designer in the aerospace industry. His younger brother, Bryan, eventually became a draftsman/designer as well.
When an interviewer asked Hillenburg to describe himself as a child, he replied that he was "probably well-meaning and naive like all kids." His passion for sea life can be traced to his childhood, when films by French oceanographer Jacques Cousteau made a strong impression on him. Hillenburg said that Cousteau "provided a view into that world", which he had not known existed. He liked to explore tide pools as a child, bringing home objects that "should have been left there and that ended up dying and smelling really bad."
Hillenburg also developed his interest in art at a young age. His first drawing was of an orange slice. An illustration which he drew in third grade, depicting "a bunch of army men... kissing and hugging instead of fighting", brought him the first praise for his artwork, when his teacher commended it. "Of course, this is 1970... She liked it because, I mean, obviously that was in the middle of [the Vietnam War]. She was, I would imagine, not a hundred percent for the war like a lot of people then. ...I had no idea about the implications, really, because I just thought it was a funny idea. I remember that still, that moment when she said, 'oh my gosh, look at that'", Hillenburg elaborated. It was then when he knew he "had some [creative] skill". He asserted that his artistry came from his mother's side, despite his father being a draftsman, noting that his maternal grandmother was "really, really gifted" and a "great painter". In the 1970s, someone took Hillenburg to the International Tournée of Animation at the Los Angeles County Museum of Art. He was "knocked out" by the foreign animated films, including Dutch animator Paul Driessen's The Killing of an Egg (1977). "That was the film that I thought was uniquely strange and that lodged itself in my head early on," he recounted.
He attended Savanna High School in Anaheim, describing himself as a "band geek" who played the trumpet. At age 15, he snorkeled for the first time; Hillenburg took part in a "dive program" at Woods Coves in Laguna Beach, as part of the Regional Occupational Program at Savanna. This experience, as well as subsequent dives, reinforced his interest in, and led to his decision to study, marine biology in college: "The switch clicked and I decided I wanted to be a marine biologist, but I also liked being an artist." Some of his high-school teachers, who knew of his interest in art and fascination with the ocean, advised him otherwise, saying: "You should just draw fish." However, the idea of drawing fish seemed boring to him and he was more riveted by "making weird, little paintings". During a few summers after finishing high school, he worked as a fry cook and lobster boiler at a fast-food seafood restaurant in Maine. (This later inspired SpongeBob SquarePants' occupation in the television series, which he would begin developing in 1994.)
Hillenburg went to Humboldt State University in Arcata, California as a marine-science major. He minored in art, and claimed that "[he] blossomed as a painter in Humboldt." In 1984, he earned his bachelor's degree in natural-resource planning and interpretation, with an emphasis on marine resources. He intended to take a master's degree, but said it would be in art: "Initially I think I assumed that if I went to school for art I would never have any way of making a living, so I thought it might be smarter to keep art my passion and hobby and study something else. But by the time I got to the end of my undergrad work, I realized I should be in art."
Early career
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California, dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession.
While working there, one of the educational directors asked him if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters—including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but the publishers he approached turned him down.
During this time, Hillenburg also started going to animation festivals such as the International Tournée of Animation and Spike and Mike's Festival of Animation where films made by students from the California Institute of the Arts (colloquially called CalArts) were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.
Hillenburg enrolled in CalArts' Experimental Animation Program in 1989. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considered his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. During his time at CalArts, he briefly drew comics for the surfing magazine KEMA in 1990.
Animation career
Early works
Hillenburg made his first animated works, short films The Green Beret (1991) and Wormholes (1992), while at CalArts. The Green Beret was about a physically challenged Girl Scout with enormous fists who toppled houses and destroyed neighborhoods while trying to sell Girl Scout cookies. Wormholes was his seven-minute thesis film, about the theory of relativity. He described the latter as "a poetic animated film based on relativistic phenomena" in his grant proposal in 1991 to the Princess Grace Foundation, which assists emerging artists in American theater, dance, and film. The foundation agreed to fund the effort, providing Hillenburg with a Graduate Film Scholarship. "It meant a lot. They funded one of the projects I'm most proud of, even with SpongeBob. It provided me the opportunity just to make a film that was personal, and what I would call independent, and free of some of the commercial needs," he said in 2003. Wormholes was shown at several international animation festivals, including: the Annecy International Animated Film Festival; the Hiroshima International Animation Festival; the Los Angeles International Animation Celebration; the International Short Film Festival Oberhausen; and the Ottawa International Animation Festival, where it won Best Concept. LA Weekly labeled the film "road-trippy" and "Zap-comical", while Manohla Dargis of The New York Times opined that it was inventive.
Hillenburg explained that "anything goes" in experimental animation. Although this allowed him to explore alternatives to conventional methods of filmmaking, he still ventured to employ "an industry style"; he preferred to traditionally animate his films (where each frame is drawn by hand) rather than, for instance, make cartoons "out of sand by filming piles of sand changing". Hillenburg had at least one other short film that he made as an animation student but its title is unspecified.
Rocko's Modern Life
Hillenburg's first professional job in the animation business was as a director on Rocko's Modern Life (19931996), Nickelodeon's first in-house cartoon production. He "ended up finding work in the industry and got a job" at the television network after he met the show's creator, Joe Murray, at the 1992 Ottawa International Animation Festival, where Wormholes and Murray's My Dog Zero were both in competition. Murray, who was looking for people to direct Rocko's Modern Life at the time, saw Hillenburg's film and offered him a directorial role on the television series. He "[had] friends that [gave him] a hard time about [the offer]. ... but doors opened when [he] stepped into the animation world," so he accepted it. He "was planning on being a starving artist": "[I spent] several thousand dollars to make a film and [realized] I may not make it backI had loans out. Fortunately, Joe Murray saw my film... and he took a huge chance," Hillenburg related.
Hillenburg worked closely with Murray on Rocko's Modern Life for its whole run on the air. Aside from directing, he also produced, wrote and storyboarded for some episodes, and served as the executive story editor. In 1995, during the show's fourth and final season, he was promoted to creative director, where he helped oversee pre- and post-production. Working on the series enabled him to repay his loans. He later related that he "learned a great deal about writing and producing animation for TV" from his stint on Rocko's Modern Life.
SpongeBob SquarePants
Creation
Some evidence shows that the idea for SpongeBob SquarePants dates back to 1986, during Hillenburg's time at the Orange County Marine Institute. He indicated that children's television series such as The New Adventures of Mighty Mouse (19871988) and Pee-wee's Playhouse (19861991) "sparked something in [him]." He continued, "I don't know if this is true for everybody else, but it always seems like, for me, I'll start thinking about something and it takes about ten years to actually have it happen, or have someone else believe in it... It took me a few years to get [SpongeBob SquarePants] together."
During the production of Rocko's Modern Life, Martin Olson, one of the writers, read The Intertidal Zone and encouraged Hillenburg to create a television series with a similar concept. At that point, he had not even considered creating his own series: "After watching Joe [Murray] tear his hair out a lot, dealing with all the problems that came up, I thought I would never want to produce a show of my own." However, he realized that if he ever did, this would be the best approach: "For all those years it seemed like I was doing these two totally separate things. I wondered what it all meant. I didn't see a synthesis. It was great when [my two interests] all came together in [a show]. I felt relieved that I hadn't wasted a lot of time doing something that I then abandoned to do something else. It has been pretty rewarding," Hillenburg said in 2002. He claimed that he finally decided to create a series as he was driving to the beach on the Santa Monica Freeway one day.
As he was developing the show's concept, Hillenburg remembered his teaching experience at the Orange County Marine Institute and how mesmerized children were by tide-pool animals, including crabs, octopuses, starfish, and sponges. It came to him that the series should take place underwater, with a focus on those creatures: "I wanted to create a small town underwater where the characters were more like us than like fish. They have fire. They take walks. They drive. They have pets and holidays." It suited what Hillenburg liked for a show, "something that was fantastic but believable." He also wanted his series to stand out from most popular cartoons of the time exemplified by buddy comedies such as The Ren & Stimpy Show (19911995). As a result, he decided to focus on one main character: the weirdest sea creature that he could think of. This led him to the sponge: "I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one." In 1994, Hillenburg began to further develop some characters from The Intertidal Zone, including Bob the Sponge.
Bob the Sponge is the comic's "announcer". He resembles an actual sea sponge, and at first Hillenburg continued this design because it "was the correct thing to do biologically as a marine-science teacher." In determining the new character's personality, he drew inspiration from innocent, childlike figures that he enjoyed, such as Charlie Chaplin, Laurel and Hardy, Jerry Lewis, Pee-wee Herman, Abbott and Costello, and The Three Stooges. He then considered modeling the character after a kitchen sponge, and realized that this idea would match the character's square personality perfectly: "[I]t looked so funny. I think as far as cartoon language goes he was easier to recognize. He seemed to fit the character type I was looking fora somewhat nerdy, squeaky clean oddball." To voice the central character of the series, Hillenburg turned to Tom Kenny, whose career in animation had begun with his on Rocko's Modern Life. Elements of Kenny's own personality were employed in further developing the character.
While pitching the cartoon to executives at Nickelodeon, Hillenburg donned a Hawaiian shirt, brought along an "underwater terrarium with models of the characters", and played Hawaiian music to set the theme. Nickelodeon executive Eric Coleman described the setup as "pretty amazing". Although Derek Drymon, creative director of SpongeBob SquarePants, described the pitch as stressful, he said it went "very well". Nickelodeon approved and gave Hillenburg money to produce the show.
Broadcast
SpongeBob SquarePants was Nickelodeon's first original Saturday-morning cartoon. It first aired as a preview on May 1, 1999, and officially premiered on July 17 of the same year. Hillenburg noted that the show's premise "is that innocence prevailswhich I don't think it always does in real life." It has received positive reviews from critics, and has been noted for its appeal to different age groups. James Poniewozik of Time magazine described the titular character as "the anti-Bart Simpson, temperamentally and physically: his head is as squared-off and neat as Bart's is unruly, and he has a personality to matchconscientious, optimistic and blind to the faults in the world and those around him." On the other hand, The New York Times critic Joyce Millman said that the show "is clever without being impenetrable to young viewers and goofy without boring grown-ups to tears. It's the most charming toon on television, and one of the weirdest. ...Like Pee-wee's Playhouse, SpongeBob joyfully dances on the fine line between childhood and adulthood, guilelessness and camp, the warped and the sweet."
SpongeBob SquarePants was an immediate hit. Within its first month on air, it overtook Pokémon (1997) as the highest-rated Saturday morning children's series. By the end of 2001, the show boasted the highest ratings of any children's series on television. Nickelodeon began adding SpongeBob SquarePants to its Monday-through-Thursday prime-time block. This programming change increased the number of older viewers significantly. By May 2002, the show's total viewership reached more than 61 million, 20 million of which were aged 18 to 49. Hillenburg did not expect the show would be very popular even to adults: "I never imagined that it would get to this point. When you set out to do a show about a sponge, you can't anticipate this kind of craze. We just try to make ourselves laugh, then ask if it's appropriate for children. I can tell you that we hoped it would be liked by adults. But we really thought the best we could hope for was a college audience." SpongeBob SquarePants has gone on to become one of the longest-running series on Nickelodeon. "Ten years. I never imagined working on the show to this date and this long. It never was possible to conceive that. ...I really figured we might get a season and a cult following, and that might be it," Hillenburg said in 2009 during the show's tenth anniversary. Its popularity has made it a media franchise, which is the most-distributed property of MTV Networks. , it has generated $12 billion in merchandising revenue.
Departure
In 2002, Hillenburg halted production of the show after the third season was completed to focus on the making of The SpongeBob SquarePants Movie which was released in 2004: "I don't want to try and do a movie and the series at the same time. We have 60 episodes and that is probably as many as [Nickelodeon] really needs. It is a standard number for a show like this. I have done a little research and people say it is just crazy doing a series and movie at the same time. I would rather concentrate on doing a good job on the movie," he noted. He directed the film from a story that he conceived with five other writer-animators from the series: Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne, and Tim Hill. The writers created a mythical hero's quest: the search for a stolen crown, which brings SpongeBob and his best friend Patrick to the surface. In 2003, during the production of The SpongeBob SquarePants Movie, his mentor Jules Engel died at the age of 94. Hillenburg dedicated the film to his memory. He said that Engel "truly was the most influential artistic person in [his] life." The SpongeBob SquarePants Movie grossed $140 million worldwide, and received positive reviews from critics. The review-aggregator website Rotten Tomatoes rates it 68 percent positive based on 125 reviews, with an average rating of 6.2/10. Its consensus states in summary, "Surreally goofy and entertaining for both children and their parents."
After completing the film, Hillenburg wanted to end the series "so [it] wouldn't jump the shark." "We're working on episodes 40 through 60 right now, and I always looked at that as a typical run for an animated show. [The Ren & Stimpy Show] lasted about that long, for example. And I thought now was a good time to step aside and look at a different project. I personally think it's good not to go to the point where people don't want to see your show anymore," Hillenburg said in 2002. However, Nickelodeon wanted to produce more episodes: "The show was such a cash cow for the station that it couldn't afford not to," storyboard director Sam Henderson observed. Initially Hillenburg doubted that the network would continue the show without him, saying: "I think [Nickelodeon executives] respect that my contribution is important. I think they would want to maintain the original concept and quality." Consequently, he resigned as the showrunner and appointed his trusted staff member Paul Tibbitt to the role. Although he no longer had a direct involvement producing SpongeBob SquarePants, he retained his position as an executive producer and maintained an advisory role, reviewing each episode. Tibbitt started out as a supervising producer but rose up to executive producer when Hillenburg went into semi-retirement in 2004. While he was on the show, he voiced Potty the Parrot and sat in with Derek Drymon at the record studio to direct the voice actors while they were recording. During the fourth season, Tibbitt took on voicing for Potty, while Andrea Romano replaced the two as the voice director.
In 2014, Tibbitt announced on his Twitter account that Hillenburg would return to the show. However, he did not specify what position the former showrunner would hold. As early as 2012, Hillenburg had already been contributing to another film based on the series, which was first reported in 2011 and officially announced the following year, with Tibbitt as director. Tibbitt also wrote the story with Hillenburg, who "[had] been in the studio everyday working with [the crew]." Besides writing, Hillenburg also executive-produced. He said in 2014: "Actually when [the film] wraps, I want to get back to the show. ...it is getting harder and harder to come up with stories. So Paul [Tibbitt] and I are really going to brainstorm and come up with fresh material." Called The SpongeBob Movie: Sponge Out of Water, the second film adaptation was released in 2015 to positive critical reception, currently holding a Rotten Tomatoes approval rating of 80 percent and an average rating of 6.5/10. It earned $323.4 million worldwide, becoming the second highest-grossing film based on an animated television show, behind The Simpsons Movie (2007).
Other pursuits
In 1998, Hillenburg formed United Plankton Pictures Inc., a television and film production company, which produces SpongeBob SquarePants and related media. From 2011 to 2018, the company published SpongeBob Comics, a comic-book series based on the cartoon. Hillenburg announced the venture in a 2011 press release, where he said, "I'm hoping that fans will enjoy finally having a SpongeBob comic book from me." Various cartoonists, including James Kochalka, Hilary Barta, Graham Annable, Gregg Schigiel, and Jacob Chabot, have contributed to issues of the comic.
According to Jeff Lenburg, in his book Who's Who in Animated Cartoons, Hillenburg was co-writing and co-directing a second animated feature film based on Rob Zombie's comic-book series, The Haunted World of El Superbeasto, which was slated for a 2006 release. He helped to write Diggs Tailwagger, a 2007 pilot by Derek Drymon. Hillenburg stated in 2009 that he was developing two other television projects that he did not want to discuss.
In 2010, he began working on Hollywood Blvd., USA, a new short film for animation festivals. In making the two-minute film, he videotaped people walking and animated them in walk cycles. Hillenburg said in 2012, "I hope to get [the film] done. It takes forever." He was aiming to finish it that fall. In 2013, three years after production began, Hollywood Blvd., USA was released to festivals. Hillenburg characterized it as a "personal film" and said that "it's not a narrative. It's just really about people in our town."
Personal life
Hillenburg married Karen Umland, a Southern Californian chef who teaches at the New School of Cooking in Culver City, in 1998. Hillenburg deemed her to be the funniest person that he knew, and the character of Karen Plankton was named after her. Also in 1998, the couple's first and only child, son Clay, was born. Hillenburg formerly resided in Hollywood and in Pasadena, and he lived with his family in San Marino, California, until his death. His hobbies included surfing, snorkeling, scuba diving, swimming, and performing "noisy rock music" on his guitar. He jammed with his son, who is a drummer, which Hillenburg called "a great way to bond with each other." He also enjoyed birdwatching at home, but said that he was always "an ocean freak".
He was known informally as "Steve" among his family, friends, and fans. According to his colleagues, Hillenburg was "a perfectionist workaholic". He was also known for his private nature. Julia Pistor, co-producer of The SpongeBob SquarePants Movie, noted that Hillenburg was "very shy". She went on to say, "He doesn't want people to know about his life or family. He's just a really funny, down-to-earth guy with a dry sense of humor who puts his family first and keeps us on our toes in keeping our corporate integrity." Hillenburg said about himself, "I make animation because I like to draw and create things. I have no real interest to be on camera or to be a celebrity. It's not that I don't like people, but I like having my privacy."
Philanthropy
Hillenburg, with his wife Karen, had endowed numerous projects and organizations through the United Plankton Charitable Trust, which the couple established in 2005. The foundation, the name of which was adopted from Hillenburg's United Plankton Pictures, supports areas of the two's personal interest, giving under $500,000 annually . Grantees include large, established arts-related organizations such as the Los Angeles County Museum of Art and the Society for the Activation of Social Space through Art and Sound, in which Karen is co-chair. Health accounts for most of their grantmaking; they had gifted to Planned Parenthood (where Karen is member of the board of directors ) and the National Multiple Sclerosis Society, among other national health organizations.
In education, they donated to schools, including the Polytechnic School in Pasadena (which their son attended), CalArts, and Humboldt State University. Donations to the latter helped fund the HSU Marine Lab and the Stephen Hillenburg Marine Science Research Award Endowment, which the couple created in 2018 to support the university's marine-science research students. The previous year, the Princess Grace Foundation introduced the Stephen Hillenburg Animation Scholarship, an annual grant from the Hillenburgs to emerging animators.
Illness, death and legacy
Hillenburg disclosed to Variety magazine in March 2017 that he had been diagnosed with amyotrophic lateral sclerosis (ALS), a fatal neurodegenerative disease that affects the motor neurons in the brain and spinal cord. He released a statement to the publication, in which he said that he would continue to work on SpongeBob SquarePants "for as long as [he is] able." He added: "My family and I are grateful for the outpouring of love and support. We ask that our sincere request for privacy be honored during this time." Hillenburg was in the early stages of the disease at the time, according to a source close to him. During his last days as executive producer, he had difficulty speaking, and it came to the point where he eventually stopped coming to the office.
Hillenburg died at his home on November 26, 2018, at the age of 57, due to the complications. According to his death certificate, his body was cremated and his ashes were scattered in the Pacific Ocean at least off the coast of California the next day.
During the halftime show for Super Bowl LIII, the performing band Maroon 5 arranged to use a clip from the SpongeBob episode "Band Geeks" (which uses the song "Sweet Victory" as part of a spoof of a football halftime show) during their show as a means to pay tribute to Hillenburg. A full clip of the "Sweet Victory" song, including a dedication to Hillenburg, was played inside Mercedes-Benz Stadium, but not during the game, which angered many fans. The song was later included in a promo for ViacomCBS' Paramount+ streaming service during Super Bowl LV.
The TV special SpongeBob's Big Birthday Blowout and the theatrical film The SpongeBob Movie: Sponge on the Run are dedicated to him and his career.
In 2019, a spin-off of SpongeBob SquarePants began production, featuring younger versions of the characters attending summer camp. Former showrunner Paul Tibbitt stated that Hillenburg would have disliked the idea; he commented, "Steve [Hillenburg] would always say to me, 'You know, one of these days, they're going to want to make SpongeBob Babies. That's when I'm out of here.'" Tibbitt also released a statement stating, "I do not mean any disrespect to my colleagues who are working on this show ... [but] they all know full well Steve would have hated this." The concept of Kamp Koral came from a season 12 meeting in October 2018, a month before Hillenburg died. Hillenburg is credited as the creator of Kamp Koral, and is credited on other spin-offs as the characters' creator.
Awards and honors
In 1992, one of Hillenburg's early works, Wormholes, won for Best Concept at the Ottawa International Animation Festival. For SpongeBob SquarePants, Hillenburg was nominated for 17 Emmy Awards, winning in the categories of Outstanding Special Class Animated Program and Outstanding Sound Editing – Animation in 2010 and 2014, respectively. The show has also received several other awards and nominations, including 17 Annie Award nominations, winning six times, as well as winning two British Academy Children's Awards, out of four nominations. In 2002, SpongeBob SquarePants won its first TCA Award for Outstanding Achievement in Children's Programming nomination.
In 2001, Heal the Bay, an environmental nonprofit organization, honored Hillenburg with its Walk the Talk award. He was recognized for raising public awareness of marine life through SpongeBob SquarePants. The following year, Hillenburg was given the Television Animation Award from the National Cartoonists Society, and the Princess Grace Statue Award from the Princess Grace Foundation. In 2018, Hillenburg received the Winsor McCay Award at the 45th Annie Awards, and a special recognition at the 45th Daytime Emmy Awards "for his contribution and impact made in the animation field and within the broadcast industry."
The marine demosponge species Clathria hillenburgi, known from mangrove habitats off the coast of Paraíba, Brazil, was named in honor of Stephen Hillenburg.
On November 18, 2021, Hillenburg was honored with a bench and historical plaque at his alma mater Savannah High School in Anaheim, California. The project was a collaboration between the Hillenburg family, Anaheim Historical Society, and YouTube personality Griffin Hansen. Karen Hillenburg specifically chose a bright yellow bench that "she thought perfectly captured her husband's warmth and goofiness". The memorial was dedicated one day before Savanna High School's 60th anniversary at a school-wide assembly hosted by Hansen and principal Michael Pooley. The event was attended by Karen and Clay Hillenburg, as well as members of Spongebob Squarepants' cast and crew including Tom Kenny, Jill Talley, Rodger Bumpass, Bill Fagerbakke, Clancy Brown, Mr. Lawrence, Marc Ceccarelli, and Derek Drymon.
Filmography
Film
Television
References
Further reading
External links
Stephen Hillenburg at the Nickelodeon Animation Studio website
1961 births
2018 deaths
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"Cristian Osvaldo Zarco (born 20 April 1996) is an Argentine professional footballer who plays as a forward.\n\nCareer\nZarco began his career in Platense's ranks. He made his professional bow for the Primera B Metropolitana club on 10 May 2014 against Colegiales, coming off the substitutes bench in place of Jonathan Páez as the fixture ended 2–2. His first start arrived on 25 May versus Deportivo Armenio, with Platense finishing the 2013–14 campaign fourth; eventually losing in the play-off final to Temperley. Platense did, however, win promotion four years later in 2017–18, a season Zarco scored his first senior goal during a victory away to Almirante Brown in September 2017; in what was his twenty-sixth appearance for the club. He departed Quilmes in June 2019.\n\nCareer statistics\n.\n\nHonours\nPlatense\nPrimera B Metropolitana: 2017–18\n\nReferences\n\nExternal links\n\n1996 births\nLiving people\nPlace of birth missing (living people)\nArgentine footballers\nAssociation football forwards\nPrimera B Metropolitana players\nClub Atlético Platense footballers",
"Dustin Skinner (born April 20, 1985) is an American former stock car racing driver. He has competed in one NASCAR Craftsman Truck Series race, in 2008 at Martinsville Speedway. He is the son of Mike Skinner.\n\nRacing career\nSkinner started his racing career in 1998, driving go-karts. He later moved on to Fast Trucks at various Florida racetracks, and ran Daytona International Speedway as a part of the IPOWER Dash series in 2004. He tested a NASCAR Craftsman Truck at New Smyrna Speedway in October 2007. In October 2008, Skinner made his only NASCAR Craftsman Truck Series start at Martinsville Speedway, starting 31st and finishing 34th after an early-race incident in turn three derailed his efforts. The start came with Germain Racing, an affiliate of Toyota Racing Development, whom Skinner had also worked with in late model racing. The start with Germain came after a driver development program with Key Motorsports did not come to fruition; in March 2008 the team announced that they were looking to field Skinner in up to six Truck races that year, dependent on sponsorship.\n\nAfter his driving career finished, Skinner transitioned into a mechanic role, working in Florida to prepare racecars in that state. He also helps, along with brother Jamie Skinner, on father Mike Skinner's late model efforts.\n\nIn 2020, Skinner came under fire for racist comments made regarding Bubba Wallace, the only Black full-time Cup Series driver in NASCAR, after a noose was found in Wallace's garage stall at Talladega Superspeedway. Skinner stated, \"Frankly I wish they would've tied [the noose] to [Wallace] and drug him around the pits because he has single handedly destroyed what I grew up watching and cared about for 30 years now.\" Skinner later backtracked his statement, saying, \"I disagree with what [Wallace] is doing, but it was stupidly foolish for me to say what I said and I truly regret every bit of it. If there was a way to take last night back I would. All I can do is say I'm sorry.\"\n\nMotorsports career results\n\nNASCAR\n(key) (Bold – Pole position awarded by qualifying time. Italics – Pole position earned by points standings or practice time. * – Most laps led.)\n\nCraftsman Truck Series\n\nReferences\n\nExternal links\n \n\n1985 births\nLiving people\nNASCAR drivers\nRacing drivers from North Carolina\nSportspeople from Greensboro, North Carolina"
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"park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children."
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What subject did he teach when he became a teacher?
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What subject did Stephen Hillenburg teach when he became a teacher?
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Stephen Hillenburg
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After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California that is dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession. While working there, he was asked by one of the educational directors if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters--including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but was turned down by the publishers that he approached. At one point during his tenure with the Orange County Marine Institute, Hillenburg started going to animation festivals such as the International Tournee of Animation and Spike and Mike's Festival of Animation where, at one of those, films made by California Institute of the Arts (colloquially called CalArts) students were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator. In 1989, Hillenburg enrolled in the Experimental Animation Program at CalArts. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considers his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. CANNOTANSWER
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marine-biology teacher
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Stephen McDannell Hillenburg (August 21, 1961 – November 26, 2018) was an American animator, writer, producer, and marine science educator. Hillenburg created the Nickelodeon animated television series SpongeBob SquarePants, on which he served as the showrunner for the first three seasons of the show, and has become the fifth-longest-running American animated series.
Born in Lawton, Oklahoma, and raised in Anaheim, California, Hillenburg became fascinated with the ocean as a child and developed an interest in art. He started his professional career in 1984, instructing marine biology, at the Orange County Marine Institute, where he wrote The Intertidal Zone, an informative picture book about tide-pool animals, which he used to educate his students. In 1989, two years after leaving teaching, Hillenburg enrolled at the California Institute of the Arts to pursue a career in animation. He was later offered a job on the Nickelodeon animated television series Rocko's Modern Life (19931996) after his success with The Green Beret and Wormholes (both 1992), short films that he made while studying animation.
In 1994, Hillenburg began developing The Intertidal Zone characters and concepts for what became SpongeBob SquarePants. The show has aired continuously since its premiere in 1999. He also directed The SpongeBob SquarePants Movie (2004), which he originally intended to be the series finale. Hillenburg resigned as showrunner, but Nickelodeon continued to produce more episodes after he departed the series. He resumed making short films, with Hollywood Blvd., USA in 2013, but continued to be credited as an executive producer for SpongeBob SquarePants. Hillenburg co-wrote the story for the second film adaptation of the series, The SpongeBob Movie: Sponge Out of Water, which was released in 2015.
Besides his two Emmy Awards and six Annie Awards for SpongeBob SquarePants, Hillenburg also received other recognition, such as an accolade from Heal the Bay for his efforts on elevating marine life awareness, and the Television Animation Award from the National Cartoonists Society. Hillenburg announced he was diagnosed with amyotrophic lateral sclerosis (ALS) in 2017, but stated he would continue to work on SpongeBob SquarePants as long as possible. He died on November 26, 2018, at the age of 57.
Early life and education
Stephen McDannell Hillenburg was born on August21, 1961 at Fort Sill, a United States Army post in Lawton, Oklahoma, where his father, Kelly N. Hillenburg Jr., worked for the U.S. military. His mother, Nancy (née Dufour), taught visually impaired students. When he was a year old, the family moved to Orange County, California, where his father began a career as a draftsman and designer in the aerospace industry. His younger brother, Bryan, eventually became a draftsman/designer as well.
When an interviewer asked Hillenburg to describe himself as a child, he replied that he was "probably well-meaning and naive like all kids." His passion for sea life can be traced to his childhood, when films by French oceanographer Jacques Cousteau made a strong impression on him. Hillenburg said that Cousteau "provided a view into that world", which he had not known existed. He liked to explore tide pools as a child, bringing home objects that "should have been left there and that ended up dying and smelling really bad."
Hillenburg also developed his interest in art at a young age. His first drawing was of an orange slice. An illustration which he drew in third grade, depicting "a bunch of army men... kissing and hugging instead of fighting", brought him the first praise for his artwork, when his teacher commended it. "Of course, this is 1970... She liked it because, I mean, obviously that was in the middle of [the Vietnam War]. She was, I would imagine, not a hundred percent for the war like a lot of people then. ...I had no idea about the implications, really, because I just thought it was a funny idea. I remember that still, that moment when she said, 'oh my gosh, look at that'", Hillenburg elaborated. It was then when he knew he "had some [creative] skill". He asserted that his artistry came from his mother's side, despite his father being a draftsman, noting that his maternal grandmother was "really, really gifted" and a "great painter". In the 1970s, someone took Hillenburg to the International Tournée of Animation at the Los Angeles County Museum of Art. He was "knocked out" by the foreign animated films, including Dutch animator Paul Driessen's The Killing of an Egg (1977). "That was the film that I thought was uniquely strange and that lodged itself in my head early on," he recounted.
He attended Savanna High School in Anaheim, describing himself as a "band geek" who played the trumpet. At age 15, he snorkeled for the first time; Hillenburg took part in a "dive program" at Woods Coves in Laguna Beach, as part of the Regional Occupational Program at Savanna. This experience, as well as subsequent dives, reinforced his interest in, and led to his decision to study, marine biology in college: "The switch clicked and I decided I wanted to be a marine biologist, but I also liked being an artist." Some of his high-school teachers, who knew of his interest in art and fascination with the ocean, advised him otherwise, saying: "You should just draw fish." However, the idea of drawing fish seemed boring to him and he was more riveted by "making weird, little paintings". During a few summers after finishing high school, he worked as a fry cook and lobster boiler at a fast-food seafood restaurant in Maine. (This later inspired SpongeBob SquarePants' occupation in the television series, which he would begin developing in 1994.)
Hillenburg went to Humboldt State University in Arcata, California as a marine-science major. He minored in art, and claimed that "[he] blossomed as a painter in Humboldt." In 1984, he earned his bachelor's degree in natural-resource planning and interpretation, with an emphasis on marine resources. He intended to take a master's degree, but said it would be in art: "Initially I think I assumed that if I went to school for art I would never have any way of making a living, so I thought it might be smarter to keep art my passion and hobby and study something else. But by the time I got to the end of my undergrad work, I realized I should be in art."
Early career
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California, dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession.
While working there, one of the educational directors asked him if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters—including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but the publishers he approached turned him down.
During this time, Hillenburg also started going to animation festivals such as the International Tournée of Animation and Spike and Mike's Festival of Animation where films made by students from the California Institute of the Arts (colloquially called CalArts) were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.
Hillenburg enrolled in CalArts' Experimental Animation Program in 1989. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considered his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. During his time at CalArts, he briefly drew comics for the surfing magazine KEMA in 1990.
Animation career
Early works
Hillenburg made his first animated works, short films The Green Beret (1991) and Wormholes (1992), while at CalArts. The Green Beret was about a physically challenged Girl Scout with enormous fists who toppled houses and destroyed neighborhoods while trying to sell Girl Scout cookies. Wormholes was his seven-minute thesis film, about the theory of relativity. He described the latter as "a poetic animated film based on relativistic phenomena" in his grant proposal in 1991 to the Princess Grace Foundation, which assists emerging artists in American theater, dance, and film. The foundation agreed to fund the effort, providing Hillenburg with a Graduate Film Scholarship. "It meant a lot. They funded one of the projects I'm most proud of, even with SpongeBob. It provided me the opportunity just to make a film that was personal, and what I would call independent, and free of some of the commercial needs," he said in 2003. Wormholes was shown at several international animation festivals, including: the Annecy International Animated Film Festival; the Hiroshima International Animation Festival; the Los Angeles International Animation Celebration; the International Short Film Festival Oberhausen; and the Ottawa International Animation Festival, where it won Best Concept. LA Weekly labeled the film "road-trippy" and "Zap-comical", while Manohla Dargis of The New York Times opined that it was inventive.
Hillenburg explained that "anything goes" in experimental animation. Although this allowed him to explore alternatives to conventional methods of filmmaking, he still ventured to employ "an industry style"; he preferred to traditionally animate his films (where each frame is drawn by hand) rather than, for instance, make cartoons "out of sand by filming piles of sand changing". Hillenburg had at least one other short film that he made as an animation student but its title is unspecified.
Rocko's Modern Life
Hillenburg's first professional job in the animation business was as a director on Rocko's Modern Life (19931996), Nickelodeon's first in-house cartoon production. He "ended up finding work in the industry and got a job" at the television network after he met the show's creator, Joe Murray, at the 1992 Ottawa International Animation Festival, where Wormholes and Murray's My Dog Zero were both in competition. Murray, who was looking for people to direct Rocko's Modern Life at the time, saw Hillenburg's film and offered him a directorial role on the television series. He "[had] friends that [gave him] a hard time about [the offer]. ... but doors opened when [he] stepped into the animation world," so he accepted it. He "was planning on being a starving artist": "[I spent] several thousand dollars to make a film and [realized] I may not make it backI had loans out. Fortunately, Joe Murray saw my film... and he took a huge chance," Hillenburg related.
Hillenburg worked closely with Murray on Rocko's Modern Life for its whole run on the air. Aside from directing, he also produced, wrote and storyboarded for some episodes, and served as the executive story editor. In 1995, during the show's fourth and final season, he was promoted to creative director, where he helped oversee pre- and post-production. Working on the series enabled him to repay his loans. He later related that he "learned a great deal about writing and producing animation for TV" from his stint on Rocko's Modern Life.
SpongeBob SquarePants
Creation
Some evidence shows that the idea for SpongeBob SquarePants dates back to 1986, during Hillenburg's time at the Orange County Marine Institute. He indicated that children's television series such as The New Adventures of Mighty Mouse (19871988) and Pee-wee's Playhouse (19861991) "sparked something in [him]." He continued, "I don't know if this is true for everybody else, but it always seems like, for me, I'll start thinking about something and it takes about ten years to actually have it happen, or have someone else believe in it... It took me a few years to get [SpongeBob SquarePants] together."
During the production of Rocko's Modern Life, Martin Olson, one of the writers, read The Intertidal Zone and encouraged Hillenburg to create a television series with a similar concept. At that point, he had not even considered creating his own series: "After watching Joe [Murray] tear his hair out a lot, dealing with all the problems that came up, I thought I would never want to produce a show of my own." However, he realized that if he ever did, this would be the best approach: "For all those years it seemed like I was doing these two totally separate things. I wondered what it all meant. I didn't see a synthesis. It was great when [my two interests] all came together in [a show]. I felt relieved that I hadn't wasted a lot of time doing something that I then abandoned to do something else. It has been pretty rewarding," Hillenburg said in 2002. He claimed that he finally decided to create a series as he was driving to the beach on the Santa Monica Freeway one day.
As he was developing the show's concept, Hillenburg remembered his teaching experience at the Orange County Marine Institute and how mesmerized children were by tide-pool animals, including crabs, octopuses, starfish, and sponges. It came to him that the series should take place underwater, with a focus on those creatures: "I wanted to create a small town underwater where the characters were more like us than like fish. They have fire. They take walks. They drive. They have pets and holidays." It suited what Hillenburg liked for a show, "something that was fantastic but believable." He also wanted his series to stand out from most popular cartoons of the time exemplified by buddy comedies such as The Ren & Stimpy Show (19911995). As a result, he decided to focus on one main character: the weirdest sea creature that he could think of. This led him to the sponge: "I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one." In 1994, Hillenburg began to further develop some characters from The Intertidal Zone, including Bob the Sponge.
Bob the Sponge is the comic's "announcer". He resembles an actual sea sponge, and at first Hillenburg continued this design because it "was the correct thing to do biologically as a marine-science teacher." In determining the new character's personality, he drew inspiration from innocent, childlike figures that he enjoyed, such as Charlie Chaplin, Laurel and Hardy, Jerry Lewis, Pee-wee Herman, Abbott and Costello, and The Three Stooges. He then considered modeling the character after a kitchen sponge, and realized that this idea would match the character's square personality perfectly: "[I]t looked so funny. I think as far as cartoon language goes he was easier to recognize. He seemed to fit the character type I was looking fora somewhat nerdy, squeaky clean oddball." To voice the central character of the series, Hillenburg turned to Tom Kenny, whose career in animation had begun with his on Rocko's Modern Life. Elements of Kenny's own personality were employed in further developing the character.
While pitching the cartoon to executives at Nickelodeon, Hillenburg donned a Hawaiian shirt, brought along an "underwater terrarium with models of the characters", and played Hawaiian music to set the theme. Nickelodeon executive Eric Coleman described the setup as "pretty amazing". Although Derek Drymon, creative director of SpongeBob SquarePants, described the pitch as stressful, he said it went "very well". Nickelodeon approved and gave Hillenburg money to produce the show.
Broadcast
SpongeBob SquarePants was Nickelodeon's first original Saturday-morning cartoon. It first aired as a preview on May 1, 1999, and officially premiered on July 17 of the same year. Hillenburg noted that the show's premise "is that innocence prevailswhich I don't think it always does in real life." It has received positive reviews from critics, and has been noted for its appeal to different age groups. James Poniewozik of Time magazine described the titular character as "the anti-Bart Simpson, temperamentally and physically: his head is as squared-off and neat as Bart's is unruly, and he has a personality to matchconscientious, optimistic and blind to the faults in the world and those around him." On the other hand, The New York Times critic Joyce Millman said that the show "is clever without being impenetrable to young viewers and goofy without boring grown-ups to tears. It's the most charming toon on television, and one of the weirdest. ...Like Pee-wee's Playhouse, SpongeBob joyfully dances on the fine line between childhood and adulthood, guilelessness and camp, the warped and the sweet."
SpongeBob SquarePants was an immediate hit. Within its first month on air, it overtook Pokémon (1997) as the highest-rated Saturday morning children's series. By the end of 2001, the show boasted the highest ratings of any children's series on television. Nickelodeon began adding SpongeBob SquarePants to its Monday-through-Thursday prime-time block. This programming change increased the number of older viewers significantly. By May 2002, the show's total viewership reached more than 61 million, 20 million of which were aged 18 to 49. Hillenburg did not expect the show would be very popular even to adults: "I never imagined that it would get to this point. When you set out to do a show about a sponge, you can't anticipate this kind of craze. We just try to make ourselves laugh, then ask if it's appropriate for children. I can tell you that we hoped it would be liked by adults. But we really thought the best we could hope for was a college audience." SpongeBob SquarePants has gone on to become one of the longest-running series on Nickelodeon. "Ten years. I never imagined working on the show to this date and this long. It never was possible to conceive that. ...I really figured we might get a season and a cult following, and that might be it," Hillenburg said in 2009 during the show's tenth anniversary. Its popularity has made it a media franchise, which is the most-distributed property of MTV Networks. , it has generated $12 billion in merchandising revenue.
Departure
In 2002, Hillenburg halted production of the show after the third season was completed to focus on the making of The SpongeBob SquarePants Movie which was released in 2004: "I don't want to try and do a movie and the series at the same time. We have 60 episodes and that is probably as many as [Nickelodeon] really needs. It is a standard number for a show like this. I have done a little research and people say it is just crazy doing a series and movie at the same time. I would rather concentrate on doing a good job on the movie," he noted. He directed the film from a story that he conceived with five other writer-animators from the series: Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne, and Tim Hill. The writers created a mythical hero's quest: the search for a stolen crown, which brings SpongeBob and his best friend Patrick to the surface. In 2003, during the production of The SpongeBob SquarePants Movie, his mentor Jules Engel died at the age of 94. Hillenburg dedicated the film to his memory. He said that Engel "truly was the most influential artistic person in [his] life." The SpongeBob SquarePants Movie grossed $140 million worldwide, and received positive reviews from critics. The review-aggregator website Rotten Tomatoes rates it 68 percent positive based on 125 reviews, with an average rating of 6.2/10. Its consensus states in summary, "Surreally goofy and entertaining for both children and their parents."
After completing the film, Hillenburg wanted to end the series "so [it] wouldn't jump the shark." "We're working on episodes 40 through 60 right now, and I always looked at that as a typical run for an animated show. [The Ren & Stimpy Show] lasted about that long, for example. And I thought now was a good time to step aside and look at a different project. I personally think it's good not to go to the point where people don't want to see your show anymore," Hillenburg said in 2002. However, Nickelodeon wanted to produce more episodes: "The show was such a cash cow for the station that it couldn't afford not to," storyboard director Sam Henderson observed. Initially Hillenburg doubted that the network would continue the show without him, saying: "I think [Nickelodeon executives] respect that my contribution is important. I think they would want to maintain the original concept and quality." Consequently, he resigned as the showrunner and appointed his trusted staff member Paul Tibbitt to the role. Although he no longer had a direct involvement producing SpongeBob SquarePants, he retained his position as an executive producer and maintained an advisory role, reviewing each episode. Tibbitt started out as a supervising producer but rose up to executive producer when Hillenburg went into semi-retirement in 2004. While he was on the show, he voiced Potty the Parrot and sat in with Derek Drymon at the record studio to direct the voice actors while they were recording. During the fourth season, Tibbitt took on voicing for Potty, while Andrea Romano replaced the two as the voice director.
In 2014, Tibbitt announced on his Twitter account that Hillenburg would return to the show. However, he did not specify what position the former showrunner would hold. As early as 2012, Hillenburg had already been contributing to another film based on the series, which was first reported in 2011 and officially announced the following year, with Tibbitt as director. Tibbitt also wrote the story with Hillenburg, who "[had] been in the studio everyday working with [the crew]." Besides writing, Hillenburg also executive-produced. He said in 2014: "Actually when [the film] wraps, I want to get back to the show. ...it is getting harder and harder to come up with stories. So Paul [Tibbitt] and I are really going to brainstorm and come up with fresh material." Called The SpongeBob Movie: Sponge Out of Water, the second film adaptation was released in 2015 to positive critical reception, currently holding a Rotten Tomatoes approval rating of 80 percent and an average rating of 6.5/10. It earned $323.4 million worldwide, becoming the second highest-grossing film based on an animated television show, behind The Simpsons Movie (2007).
Other pursuits
In 1998, Hillenburg formed United Plankton Pictures Inc., a television and film production company, which produces SpongeBob SquarePants and related media. From 2011 to 2018, the company published SpongeBob Comics, a comic-book series based on the cartoon. Hillenburg announced the venture in a 2011 press release, where he said, "I'm hoping that fans will enjoy finally having a SpongeBob comic book from me." Various cartoonists, including James Kochalka, Hilary Barta, Graham Annable, Gregg Schigiel, and Jacob Chabot, have contributed to issues of the comic.
According to Jeff Lenburg, in his book Who's Who in Animated Cartoons, Hillenburg was co-writing and co-directing a second animated feature film based on Rob Zombie's comic-book series, The Haunted World of El Superbeasto, which was slated for a 2006 release. He helped to write Diggs Tailwagger, a 2007 pilot by Derek Drymon. Hillenburg stated in 2009 that he was developing two other television projects that he did not want to discuss.
In 2010, he began working on Hollywood Blvd., USA, a new short film for animation festivals. In making the two-minute film, he videotaped people walking and animated them in walk cycles. Hillenburg said in 2012, "I hope to get [the film] done. It takes forever." He was aiming to finish it that fall. In 2013, three years after production began, Hollywood Blvd., USA was released to festivals. Hillenburg characterized it as a "personal film" and said that "it's not a narrative. It's just really about people in our town."
Personal life
Hillenburg married Karen Umland, a Southern Californian chef who teaches at the New School of Cooking in Culver City, in 1998. Hillenburg deemed her to be the funniest person that he knew, and the character of Karen Plankton was named after her. Also in 1998, the couple's first and only child, son Clay, was born. Hillenburg formerly resided in Hollywood and in Pasadena, and he lived with his family in San Marino, California, until his death. His hobbies included surfing, snorkeling, scuba diving, swimming, and performing "noisy rock music" on his guitar. He jammed with his son, who is a drummer, which Hillenburg called "a great way to bond with each other." He also enjoyed birdwatching at home, but said that he was always "an ocean freak".
He was known informally as "Steve" among his family, friends, and fans. According to his colleagues, Hillenburg was "a perfectionist workaholic". He was also known for his private nature. Julia Pistor, co-producer of The SpongeBob SquarePants Movie, noted that Hillenburg was "very shy". She went on to say, "He doesn't want people to know about his life or family. He's just a really funny, down-to-earth guy with a dry sense of humor who puts his family first and keeps us on our toes in keeping our corporate integrity." Hillenburg said about himself, "I make animation because I like to draw and create things. I have no real interest to be on camera or to be a celebrity. It's not that I don't like people, but I like having my privacy."
Philanthropy
Hillenburg, with his wife Karen, had endowed numerous projects and organizations through the United Plankton Charitable Trust, which the couple established in 2005. The foundation, the name of which was adopted from Hillenburg's United Plankton Pictures, supports areas of the two's personal interest, giving under $500,000 annually . Grantees include large, established arts-related organizations such as the Los Angeles County Museum of Art and the Society for the Activation of Social Space through Art and Sound, in which Karen is co-chair. Health accounts for most of their grantmaking; they had gifted to Planned Parenthood (where Karen is member of the board of directors ) and the National Multiple Sclerosis Society, among other national health organizations.
In education, they donated to schools, including the Polytechnic School in Pasadena (which their son attended), CalArts, and Humboldt State University. Donations to the latter helped fund the HSU Marine Lab and the Stephen Hillenburg Marine Science Research Award Endowment, which the couple created in 2018 to support the university's marine-science research students. The previous year, the Princess Grace Foundation introduced the Stephen Hillenburg Animation Scholarship, an annual grant from the Hillenburgs to emerging animators.
Illness, death and legacy
Hillenburg disclosed to Variety magazine in March 2017 that he had been diagnosed with amyotrophic lateral sclerosis (ALS), a fatal neurodegenerative disease that affects the motor neurons in the brain and spinal cord. He released a statement to the publication, in which he said that he would continue to work on SpongeBob SquarePants "for as long as [he is] able." He added: "My family and I are grateful for the outpouring of love and support. We ask that our sincere request for privacy be honored during this time." Hillenburg was in the early stages of the disease at the time, according to a source close to him. During his last days as executive producer, he had difficulty speaking, and it came to the point where he eventually stopped coming to the office.
Hillenburg died at his home on November 26, 2018, at the age of 57, due to the complications. According to his death certificate, his body was cremated and his ashes were scattered in the Pacific Ocean at least off the coast of California the next day.
During the halftime show for Super Bowl LIII, the performing band Maroon 5 arranged to use a clip from the SpongeBob episode "Band Geeks" (which uses the song "Sweet Victory" as part of a spoof of a football halftime show) during their show as a means to pay tribute to Hillenburg. A full clip of the "Sweet Victory" song, including a dedication to Hillenburg, was played inside Mercedes-Benz Stadium, but not during the game, which angered many fans. The song was later included in a promo for ViacomCBS' Paramount+ streaming service during Super Bowl LV.
The TV special SpongeBob's Big Birthday Blowout and the theatrical film The SpongeBob Movie: Sponge on the Run are dedicated to him and his career.
In 2019, a spin-off of SpongeBob SquarePants began production, featuring younger versions of the characters attending summer camp. Former showrunner Paul Tibbitt stated that Hillenburg would have disliked the idea; he commented, "Steve [Hillenburg] would always say to me, 'You know, one of these days, they're going to want to make SpongeBob Babies. That's when I'm out of here.'" Tibbitt also released a statement stating, "I do not mean any disrespect to my colleagues who are working on this show ... [but] they all know full well Steve would have hated this." The concept of Kamp Koral came from a season 12 meeting in October 2018, a month before Hillenburg died. Hillenburg is credited as the creator of Kamp Koral, and is credited on other spin-offs as the characters' creator.
Awards and honors
In 1992, one of Hillenburg's early works, Wormholes, won for Best Concept at the Ottawa International Animation Festival. For SpongeBob SquarePants, Hillenburg was nominated for 17 Emmy Awards, winning in the categories of Outstanding Special Class Animated Program and Outstanding Sound Editing – Animation in 2010 and 2014, respectively. The show has also received several other awards and nominations, including 17 Annie Award nominations, winning six times, as well as winning two British Academy Children's Awards, out of four nominations. In 2002, SpongeBob SquarePants won its first TCA Award for Outstanding Achievement in Children's Programming nomination.
In 2001, Heal the Bay, an environmental nonprofit organization, honored Hillenburg with its Walk the Talk award. He was recognized for raising public awareness of marine life through SpongeBob SquarePants. The following year, Hillenburg was given the Television Animation Award from the National Cartoonists Society, and the Princess Grace Statue Award from the Princess Grace Foundation. In 2018, Hillenburg received the Winsor McCay Award at the 45th Annie Awards, and a special recognition at the 45th Daytime Emmy Awards "for his contribution and impact made in the animation field and within the broadcast industry."
The marine demosponge species Clathria hillenburgi, known from mangrove habitats off the coast of Paraíba, Brazil, was named in honor of Stephen Hillenburg.
On November 18, 2021, Hillenburg was honored with a bench and historical plaque at his alma mater Savannah High School in Anaheim, California. The project was a collaboration between the Hillenburg family, Anaheim Historical Society, and YouTube personality Griffin Hansen. Karen Hillenburg specifically chose a bright yellow bench that "she thought perfectly captured her husband's warmth and goofiness". The memorial was dedicated one day before Savanna High School's 60th anniversary at a school-wide assembly hosted by Hansen and principal Michael Pooley. The event was attended by Karen and Clay Hillenburg, as well as members of Spongebob Squarepants' cast and crew including Tom Kenny, Jill Talley, Rodger Bumpass, Bill Fagerbakke, Clancy Brown, Mr. Lawrence, Marc Ceccarelli, and Derek Drymon.
Filmography
Film
Television
References
Further reading
External links
Stephen Hillenburg at the Nickelodeon Animation Studio website
1961 births
2018 deaths
20th-century American male writers
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American marine biologists
American storyboard artists
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American animated film directors
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Animators from California
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Screenwriters from California
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[
"In the field of pedagogy, learning by teaching (German: Lernen durch Lehren, short LdL) is a method of teaching in which students are made to learn material and prepare lessons to teach it to the other students. There is a strong emphasis on acquisition of life skills along with the subject matter. This method was originally defined by Jean-Pol Martin in the 1980s.\n\nBackground \n\nThe method of having students teach other students has been present since antiquity. Most often this was due to lack of resources. For example, the Monitorial System was an education method that became popular on a global scale during the early 19th century. It was developed in parallel by Scotsman Andrew Bell who had worked in Madras and Joseph Lancaster who worked in London; each attempted to educate masses of poor children with scant resources by having older children teach younger children what they had already learned.\n\nSystematic research into intentionally improving education, by having students learn by teaching began in the middle of the 20th century.\n\nIn the early 1980s, Jean-Pol Martin systematically developed the concept of having students teach other in the context of learning French as a foreign language, and he gave it a theoretical background in numerous publications. The method was originally resisted, as the German educational system generally emphasized discipline and rote learning. However the method became widely used in Germany in secondary education, and in the 1990s it was further formalized and began to be used in universities as well. By 2008 Martin had retired, and although he remained active Joachim Grzega took the lead in developing and promulgating LdL.\n\nMethod \n\nAfter preparation by the teacher, students become responsible for their own learning and teaching. The new material is divided into small units and student groups of not more than three people are formed.\n\nStudents are then encouraged to experiment to find ways to teach the material to the others. Along with ensuring that students learn the material, another goal of the method, is to teach students life skills like respect for other people, planning, problem solving, taking chances in public, and communication skills. The teacher remains actively involved, stepping in to further explain or provide support if the teaching-students falter or the learning-students do not seem to understand the material.\n\nThe method is distinct from tutoring in that LdL is done in class, supported by the teacher, and distinct from student teaching, which is a part of teacher education.\n\nPlastic platypus learning \n\nA related method is the plastic platypus learning or platypus learning technique. This technique is based on evidence that show that teaching an inanimate object improves understanding and knowledge retention of a subject. \n\nThe advantage of this technique is that the learner does not need the presence of another person in order to teach the subject.\n\nThe name 'plastic platypus learning' is a paraphrase on the known software engineering technique rubber duck debugging, in which a programmer can find bugs in their code without the help of others, simply by explaining what the code does, line by line, to an inanimate object - namely, a rubber duck. Obviously, this technique may work with any inanimate object, and not just plastic platypuses.\n\nA variation of the platypus learning technique is the Feynman technique, in which a person pretends to explain the information to a child.\n\nExamples\n\n Flipped learning + teaching\nTraditional instructor teaching style classes can be mixed with or transformed to flipped teaching. Before and after each (traditional/flipped) lecture, anonymized evaluation items on the Likert scale can be recorded from the students for continuous monitoring/dashboarding. In planned flipped teaching lessons, the teacher hands out lesson teaching material one week before the lesson is scheduled for the students to prepare talks. Small student groups work on the lecture chapters instead of homework, and then give the lecture in front of their peers. The professional lecturer then discusses, complements and provides feedback at the end of the group talks. Here, the professional lecturer acts as a coach to help students preparation and live performance.\n\nSee also \n\n \n \n \n \n \n Peer mentoring\n Peer-led team learning\n\nReferences\n\nFurther reading\n Adamson, Timothy; Ghose, Debasmita; Shannon C. Yasuda; Jehu, Lucas; Shepard, Silva; Michal, A.; Duan, Jyoce; Scassellati, Brian: „Why We Should Build Robots That Both Teach and Learn\". 2021.https://scazlab.yale.edu/sites/default/files/files/hrifp1028-adamsonA.pdf\n \n \n \n Kolbe, Simon (2021): Learning by Teaching - a Resource Orientated Approach Towards Mordern Inclusive Education. In: Mevlüt Aydogmus (Hg.): New Trends and Promising Directions in Modern Education. New Perspectives 2021. Meram/Konya: Palet Yayinlari Verlag, 234-255.\n \n \n \n \n (Author copy)\n \n Serholt, Sofia, Ekström Sara, Künster Dennis, Ljungblad Sara, Pareto Lena (2022): Comparing a Robot Tutee to a Human Tutee in a Learning-By-Teaching Scenario with Children,2022 Front. Robot. AI, 21 February 2022 | https://doi.org/10.3389/frobt.2022.836462\n\nExternal links \n Lernen durch Lehren website, archived 12/2018\n Online course (Video): Learning by teaching, Nellie Deutsch, 2017\n Video: Protege effect: Learning by teaching, Ontario 2014\n Video: Learning by teaching, Germany 2004\n\nApplied learning\nAlternative education\nProgressivism\nEducational practices\nLearning methods\nPedagogy",
"Teach For Us is an American non-profit organization that works to educate the public about the challenges faced by recent college graduates and professionals who agree to teach for two years in low-income communities throughout the United States as part of the Teach For America program.\n\nHistory\nThe organization was founded by Adam Geller, who himself was a Teach For America teacher starting in 2006 after he developed the idea for a blog community when he could not find an appropriate place to create a blog to update family and friends about his experiences. Since starting in 2006, Teach For Us has grown to host more than 1200 blogs written by Teach For America teachers, also called corps members. Teach For America started publicly recognizing Teach For Us as an independent source of information about the program starting in 2008 and acknowledges the site from its homepage and several sub-pages.\n\nTeach For Us was originally launched under the name TeachFor.Us, but in April 2010, Teach For Us filed with the Missouri Secretary of State and incorporated under the current name as a nonprofit corporation in the state of Missouri. Teach For Us is a recognized 501(c)3 charity by the IRS.\n\nMedia coverage\nTeach For Us has been featured in media across the United States and is the subject of educational research set to be published Fall 2010 by a Georgia State University doctoral candidate.\n\n In January 2007, the Los Angeles Times covered the Teach For Us blog In the Lou in its School Me! blog, which covered a range of local and national education issues.\n The education periodical Instructor named Teach For Us as \"Best blog from the trenches\" on its list of Top 20 Teacher Blogs \n Rasmussen College named the Teach For Us network to its list of \"Top 50 Blogs for Teachers.\"\n Author Joanne Jacobs, who wrote Our School, links to content on Teach For Us in her blog focusing on current education issues.\n Popular New York City education blog Gotham Schools covered Teach For Us in 2008 and links to bloggers periodically in its regular coverage.\n A Teach For Us blogger was invited to speak at an Education Sector policy panel exploring the link between teacher evaluation and professional development.\n\nAudience\nTeach For Us does not post firm numbers of visitors, though they report significant year-over-year growth in visitors. Based on this information, it's estimated that monthly visitors top 42,000.\n\nAudience analysis from Quantcast reveals Teach For Us reaches a balanced male/female audience that is overwhelmingly US-based with good distribution across ages and ethnicities. Teach For Us has above average market penetration in the 18-34 and 35-49 age brackets. The site also shows above-average exposure to African American internet users and has a high index of college and graduate-level-educated visitors.\n\nSoftware platform\nWhen Teach For Us launched in 2006, social media was in its infancy. Facebook was still limited to a select set of college campuses, and Twitter was not yet a household term. As such, there were only two experimental offshoots of the popular blogging platform WordPress that could support a network of blogs. Teach For Us partnered with ibiblio and deployed on Lyceum.\n\nLyceum stopped development when WordPress MU started to merge with the official WordPress source code in version 3.0. As such, Teach For Us made the decision to transition to WordPress 3.0 in 2010 in order to meet the technical needs of running a network of blogs while allowing users a more familiar experience found with WordPress.\n\nReferences\n\nExternal links\n Teach For Us homepage\n Teach For America homepage\n\nSee also\nTeach For America, the program that Teaches For Us is a part of.\n\nNon-profit organizations based in Missouri\nPublic education in the United States"
] |
[
"Stephen Hillenburg",
"Early career",
"What did he start his career in?",
"park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children.",
"What subject did he teach when he became a teacher?",
"marine-biology teacher"
] |
C_6201d5b174b24dec99fc9ee08806de24_1
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Did he teach any other subjects alone the years?
| 3 |
Did Stephen Hillenburg teach any subjects besides marine biology alone the years?
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Stephen Hillenburg
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After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California that is dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession. While working there, he was asked by one of the educational directors if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters--including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but was turned down by the publishers that he approached. At one point during his tenure with the Orange County Marine Institute, Hillenburg started going to animation festivals such as the International Tournee of Animation and Spike and Mike's Festival of Animation where, at one of those, films made by California Institute of the Arts (colloquially called CalArts) students were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator. In 1989, Hillenburg enrolled in the Experimental Animation Program at CalArts. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considers his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. CANNOTANSWER
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tide-pool ecology, nautical history, diversity and adaptation.
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Stephen McDannell Hillenburg (August 21, 1961 – November 26, 2018) was an American animator, writer, producer, and marine science educator. Hillenburg created the Nickelodeon animated television series SpongeBob SquarePants, on which he served as the showrunner for the first three seasons of the show, and has become the fifth-longest-running American animated series.
Born in Lawton, Oklahoma, and raised in Anaheim, California, Hillenburg became fascinated with the ocean as a child and developed an interest in art. He started his professional career in 1984, instructing marine biology, at the Orange County Marine Institute, where he wrote The Intertidal Zone, an informative picture book about tide-pool animals, which he used to educate his students. In 1989, two years after leaving teaching, Hillenburg enrolled at the California Institute of the Arts to pursue a career in animation. He was later offered a job on the Nickelodeon animated television series Rocko's Modern Life (19931996) after his success with The Green Beret and Wormholes (both 1992), short films that he made while studying animation.
In 1994, Hillenburg began developing The Intertidal Zone characters and concepts for what became SpongeBob SquarePants. The show has aired continuously since its premiere in 1999. He also directed The SpongeBob SquarePants Movie (2004), which he originally intended to be the series finale. Hillenburg resigned as showrunner, but Nickelodeon continued to produce more episodes after he departed the series. He resumed making short films, with Hollywood Blvd., USA in 2013, but continued to be credited as an executive producer for SpongeBob SquarePants. Hillenburg co-wrote the story for the second film adaptation of the series, The SpongeBob Movie: Sponge Out of Water, which was released in 2015.
Besides his two Emmy Awards and six Annie Awards for SpongeBob SquarePants, Hillenburg also received other recognition, such as an accolade from Heal the Bay for his efforts on elevating marine life awareness, and the Television Animation Award from the National Cartoonists Society. Hillenburg announced he was diagnosed with amyotrophic lateral sclerosis (ALS) in 2017, but stated he would continue to work on SpongeBob SquarePants as long as possible. He died on November 26, 2018, at the age of 57.
Early life and education
Stephen McDannell Hillenburg was born on August21, 1961 at Fort Sill, a United States Army post in Lawton, Oklahoma, where his father, Kelly N. Hillenburg Jr., worked for the U.S. military. His mother, Nancy (née Dufour), taught visually impaired students. When he was a year old, the family moved to Orange County, California, where his father began a career as a draftsman and designer in the aerospace industry. His younger brother, Bryan, eventually became a draftsman/designer as well.
When an interviewer asked Hillenburg to describe himself as a child, he replied that he was "probably well-meaning and naive like all kids." His passion for sea life can be traced to his childhood, when films by French oceanographer Jacques Cousteau made a strong impression on him. Hillenburg said that Cousteau "provided a view into that world", which he had not known existed. He liked to explore tide pools as a child, bringing home objects that "should have been left there and that ended up dying and smelling really bad."
Hillenburg also developed his interest in art at a young age. His first drawing was of an orange slice. An illustration which he drew in third grade, depicting "a bunch of army men... kissing and hugging instead of fighting", brought him the first praise for his artwork, when his teacher commended it. "Of course, this is 1970... She liked it because, I mean, obviously that was in the middle of [the Vietnam War]. She was, I would imagine, not a hundred percent for the war like a lot of people then. ...I had no idea about the implications, really, because I just thought it was a funny idea. I remember that still, that moment when she said, 'oh my gosh, look at that'", Hillenburg elaborated. It was then when he knew he "had some [creative] skill". He asserted that his artistry came from his mother's side, despite his father being a draftsman, noting that his maternal grandmother was "really, really gifted" and a "great painter". In the 1970s, someone took Hillenburg to the International Tournée of Animation at the Los Angeles County Museum of Art. He was "knocked out" by the foreign animated films, including Dutch animator Paul Driessen's The Killing of an Egg (1977). "That was the film that I thought was uniquely strange and that lodged itself in my head early on," he recounted.
He attended Savanna High School in Anaheim, describing himself as a "band geek" who played the trumpet. At age 15, he snorkeled for the first time; Hillenburg took part in a "dive program" at Woods Coves in Laguna Beach, as part of the Regional Occupational Program at Savanna. This experience, as well as subsequent dives, reinforced his interest in, and led to his decision to study, marine biology in college: "The switch clicked and I decided I wanted to be a marine biologist, but I also liked being an artist." Some of his high-school teachers, who knew of his interest in art and fascination with the ocean, advised him otherwise, saying: "You should just draw fish." However, the idea of drawing fish seemed boring to him and he was more riveted by "making weird, little paintings". During a few summers after finishing high school, he worked as a fry cook and lobster boiler at a fast-food seafood restaurant in Maine. (This later inspired SpongeBob SquarePants' occupation in the television series, which he would begin developing in 1994.)
Hillenburg went to Humboldt State University in Arcata, California as a marine-science major. He minored in art, and claimed that "[he] blossomed as a painter in Humboldt." In 1984, he earned his bachelor's degree in natural-resource planning and interpretation, with an emphasis on marine resources. He intended to take a master's degree, but said it would be in art: "Initially I think I assumed that if I went to school for art I would never have any way of making a living, so I thought it might be smarter to keep art my passion and hobby and study something else. But by the time I got to the end of my undergrad work, I realized I should be in art."
Early career
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California, dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession.
While working there, one of the educational directors asked him if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters—including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but the publishers he approached turned him down.
During this time, Hillenburg also started going to animation festivals such as the International Tournée of Animation and Spike and Mike's Festival of Animation where films made by students from the California Institute of the Arts (colloquially called CalArts) were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.
Hillenburg enrolled in CalArts' Experimental Animation Program in 1989. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considered his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. During his time at CalArts, he briefly drew comics for the surfing magazine KEMA in 1990.
Animation career
Early works
Hillenburg made his first animated works, short films The Green Beret (1991) and Wormholes (1992), while at CalArts. The Green Beret was about a physically challenged Girl Scout with enormous fists who toppled houses and destroyed neighborhoods while trying to sell Girl Scout cookies. Wormholes was his seven-minute thesis film, about the theory of relativity. He described the latter as "a poetic animated film based on relativistic phenomena" in his grant proposal in 1991 to the Princess Grace Foundation, which assists emerging artists in American theater, dance, and film. The foundation agreed to fund the effort, providing Hillenburg with a Graduate Film Scholarship. "It meant a lot. They funded one of the projects I'm most proud of, even with SpongeBob. It provided me the opportunity just to make a film that was personal, and what I would call independent, and free of some of the commercial needs," he said in 2003. Wormholes was shown at several international animation festivals, including: the Annecy International Animated Film Festival; the Hiroshima International Animation Festival; the Los Angeles International Animation Celebration; the International Short Film Festival Oberhausen; and the Ottawa International Animation Festival, where it won Best Concept. LA Weekly labeled the film "road-trippy" and "Zap-comical", while Manohla Dargis of The New York Times opined that it was inventive.
Hillenburg explained that "anything goes" in experimental animation. Although this allowed him to explore alternatives to conventional methods of filmmaking, he still ventured to employ "an industry style"; he preferred to traditionally animate his films (where each frame is drawn by hand) rather than, for instance, make cartoons "out of sand by filming piles of sand changing". Hillenburg had at least one other short film that he made as an animation student but its title is unspecified.
Rocko's Modern Life
Hillenburg's first professional job in the animation business was as a director on Rocko's Modern Life (19931996), Nickelodeon's first in-house cartoon production. He "ended up finding work in the industry and got a job" at the television network after he met the show's creator, Joe Murray, at the 1992 Ottawa International Animation Festival, where Wormholes and Murray's My Dog Zero were both in competition. Murray, who was looking for people to direct Rocko's Modern Life at the time, saw Hillenburg's film and offered him a directorial role on the television series. He "[had] friends that [gave him] a hard time about [the offer]. ... but doors opened when [he] stepped into the animation world," so he accepted it. He "was planning on being a starving artist": "[I spent] several thousand dollars to make a film and [realized] I may not make it backI had loans out. Fortunately, Joe Murray saw my film... and he took a huge chance," Hillenburg related.
Hillenburg worked closely with Murray on Rocko's Modern Life for its whole run on the air. Aside from directing, he also produced, wrote and storyboarded for some episodes, and served as the executive story editor. In 1995, during the show's fourth and final season, he was promoted to creative director, where he helped oversee pre- and post-production. Working on the series enabled him to repay his loans. He later related that he "learned a great deal about writing and producing animation for TV" from his stint on Rocko's Modern Life.
SpongeBob SquarePants
Creation
Some evidence shows that the idea for SpongeBob SquarePants dates back to 1986, during Hillenburg's time at the Orange County Marine Institute. He indicated that children's television series such as The New Adventures of Mighty Mouse (19871988) and Pee-wee's Playhouse (19861991) "sparked something in [him]." He continued, "I don't know if this is true for everybody else, but it always seems like, for me, I'll start thinking about something and it takes about ten years to actually have it happen, or have someone else believe in it... It took me a few years to get [SpongeBob SquarePants] together."
During the production of Rocko's Modern Life, Martin Olson, one of the writers, read The Intertidal Zone and encouraged Hillenburg to create a television series with a similar concept. At that point, he had not even considered creating his own series: "After watching Joe [Murray] tear his hair out a lot, dealing with all the problems that came up, I thought I would never want to produce a show of my own." However, he realized that if he ever did, this would be the best approach: "For all those years it seemed like I was doing these two totally separate things. I wondered what it all meant. I didn't see a synthesis. It was great when [my two interests] all came together in [a show]. I felt relieved that I hadn't wasted a lot of time doing something that I then abandoned to do something else. It has been pretty rewarding," Hillenburg said in 2002. He claimed that he finally decided to create a series as he was driving to the beach on the Santa Monica Freeway one day.
As he was developing the show's concept, Hillenburg remembered his teaching experience at the Orange County Marine Institute and how mesmerized children were by tide-pool animals, including crabs, octopuses, starfish, and sponges. It came to him that the series should take place underwater, with a focus on those creatures: "I wanted to create a small town underwater where the characters were more like us than like fish. They have fire. They take walks. They drive. They have pets and holidays." It suited what Hillenburg liked for a show, "something that was fantastic but believable." He also wanted his series to stand out from most popular cartoons of the time exemplified by buddy comedies such as The Ren & Stimpy Show (19911995). As a result, he decided to focus on one main character: the weirdest sea creature that he could think of. This led him to the sponge: "I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one." In 1994, Hillenburg began to further develop some characters from The Intertidal Zone, including Bob the Sponge.
Bob the Sponge is the comic's "announcer". He resembles an actual sea sponge, and at first Hillenburg continued this design because it "was the correct thing to do biologically as a marine-science teacher." In determining the new character's personality, he drew inspiration from innocent, childlike figures that he enjoyed, such as Charlie Chaplin, Laurel and Hardy, Jerry Lewis, Pee-wee Herman, Abbott and Costello, and The Three Stooges. He then considered modeling the character after a kitchen sponge, and realized that this idea would match the character's square personality perfectly: "[I]t looked so funny. I think as far as cartoon language goes he was easier to recognize. He seemed to fit the character type I was looking fora somewhat nerdy, squeaky clean oddball." To voice the central character of the series, Hillenburg turned to Tom Kenny, whose career in animation had begun with his on Rocko's Modern Life. Elements of Kenny's own personality were employed in further developing the character.
While pitching the cartoon to executives at Nickelodeon, Hillenburg donned a Hawaiian shirt, brought along an "underwater terrarium with models of the characters", and played Hawaiian music to set the theme. Nickelodeon executive Eric Coleman described the setup as "pretty amazing". Although Derek Drymon, creative director of SpongeBob SquarePants, described the pitch as stressful, he said it went "very well". Nickelodeon approved and gave Hillenburg money to produce the show.
Broadcast
SpongeBob SquarePants was Nickelodeon's first original Saturday-morning cartoon. It first aired as a preview on May 1, 1999, and officially premiered on July 17 of the same year. Hillenburg noted that the show's premise "is that innocence prevailswhich I don't think it always does in real life." It has received positive reviews from critics, and has been noted for its appeal to different age groups. James Poniewozik of Time magazine described the titular character as "the anti-Bart Simpson, temperamentally and physically: his head is as squared-off and neat as Bart's is unruly, and he has a personality to matchconscientious, optimistic and blind to the faults in the world and those around him." On the other hand, The New York Times critic Joyce Millman said that the show "is clever without being impenetrable to young viewers and goofy without boring grown-ups to tears. It's the most charming toon on television, and one of the weirdest. ...Like Pee-wee's Playhouse, SpongeBob joyfully dances on the fine line between childhood and adulthood, guilelessness and camp, the warped and the sweet."
SpongeBob SquarePants was an immediate hit. Within its first month on air, it overtook Pokémon (1997) as the highest-rated Saturday morning children's series. By the end of 2001, the show boasted the highest ratings of any children's series on television. Nickelodeon began adding SpongeBob SquarePants to its Monday-through-Thursday prime-time block. This programming change increased the number of older viewers significantly. By May 2002, the show's total viewership reached more than 61 million, 20 million of which were aged 18 to 49. Hillenburg did not expect the show would be very popular even to adults: "I never imagined that it would get to this point. When you set out to do a show about a sponge, you can't anticipate this kind of craze. We just try to make ourselves laugh, then ask if it's appropriate for children. I can tell you that we hoped it would be liked by adults. But we really thought the best we could hope for was a college audience." SpongeBob SquarePants has gone on to become one of the longest-running series on Nickelodeon. "Ten years. I never imagined working on the show to this date and this long. It never was possible to conceive that. ...I really figured we might get a season and a cult following, and that might be it," Hillenburg said in 2009 during the show's tenth anniversary. Its popularity has made it a media franchise, which is the most-distributed property of MTV Networks. , it has generated $12 billion in merchandising revenue.
Departure
In 2002, Hillenburg halted production of the show after the third season was completed to focus on the making of The SpongeBob SquarePants Movie which was released in 2004: "I don't want to try and do a movie and the series at the same time. We have 60 episodes and that is probably as many as [Nickelodeon] really needs. It is a standard number for a show like this. I have done a little research and people say it is just crazy doing a series and movie at the same time. I would rather concentrate on doing a good job on the movie," he noted. He directed the film from a story that he conceived with five other writer-animators from the series: Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne, and Tim Hill. The writers created a mythical hero's quest: the search for a stolen crown, which brings SpongeBob and his best friend Patrick to the surface. In 2003, during the production of The SpongeBob SquarePants Movie, his mentor Jules Engel died at the age of 94. Hillenburg dedicated the film to his memory. He said that Engel "truly was the most influential artistic person in [his] life." The SpongeBob SquarePants Movie grossed $140 million worldwide, and received positive reviews from critics. The review-aggregator website Rotten Tomatoes rates it 68 percent positive based on 125 reviews, with an average rating of 6.2/10. Its consensus states in summary, "Surreally goofy and entertaining for both children and their parents."
After completing the film, Hillenburg wanted to end the series "so [it] wouldn't jump the shark." "We're working on episodes 40 through 60 right now, and I always looked at that as a typical run for an animated show. [The Ren & Stimpy Show] lasted about that long, for example. And I thought now was a good time to step aside and look at a different project. I personally think it's good not to go to the point where people don't want to see your show anymore," Hillenburg said in 2002. However, Nickelodeon wanted to produce more episodes: "The show was such a cash cow for the station that it couldn't afford not to," storyboard director Sam Henderson observed. Initially Hillenburg doubted that the network would continue the show without him, saying: "I think [Nickelodeon executives] respect that my contribution is important. I think they would want to maintain the original concept and quality." Consequently, he resigned as the showrunner and appointed his trusted staff member Paul Tibbitt to the role. Although he no longer had a direct involvement producing SpongeBob SquarePants, he retained his position as an executive producer and maintained an advisory role, reviewing each episode. Tibbitt started out as a supervising producer but rose up to executive producer when Hillenburg went into semi-retirement in 2004. While he was on the show, he voiced Potty the Parrot and sat in with Derek Drymon at the record studio to direct the voice actors while they were recording. During the fourth season, Tibbitt took on voicing for Potty, while Andrea Romano replaced the two as the voice director.
In 2014, Tibbitt announced on his Twitter account that Hillenburg would return to the show. However, he did not specify what position the former showrunner would hold. As early as 2012, Hillenburg had already been contributing to another film based on the series, which was first reported in 2011 and officially announced the following year, with Tibbitt as director. Tibbitt also wrote the story with Hillenburg, who "[had] been in the studio everyday working with [the crew]." Besides writing, Hillenburg also executive-produced. He said in 2014: "Actually when [the film] wraps, I want to get back to the show. ...it is getting harder and harder to come up with stories. So Paul [Tibbitt] and I are really going to brainstorm and come up with fresh material." Called The SpongeBob Movie: Sponge Out of Water, the second film adaptation was released in 2015 to positive critical reception, currently holding a Rotten Tomatoes approval rating of 80 percent and an average rating of 6.5/10. It earned $323.4 million worldwide, becoming the second highest-grossing film based on an animated television show, behind The Simpsons Movie (2007).
Other pursuits
In 1998, Hillenburg formed United Plankton Pictures Inc., a television and film production company, which produces SpongeBob SquarePants and related media. From 2011 to 2018, the company published SpongeBob Comics, a comic-book series based on the cartoon. Hillenburg announced the venture in a 2011 press release, where he said, "I'm hoping that fans will enjoy finally having a SpongeBob comic book from me." Various cartoonists, including James Kochalka, Hilary Barta, Graham Annable, Gregg Schigiel, and Jacob Chabot, have contributed to issues of the comic.
According to Jeff Lenburg, in his book Who's Who in Animated Cartoons, Hillenburg was co-writing and co-directing a second animated feature film based on Rob Zombie's comic-book series, The Haunted World of El Superbeasto, which was slated for a 2006 release. He helped to write Diggs Tailwagger, a 2007 pilot by Derek Drymon. Hillenburg stated in 2009 that he was developing two other television projects that he did not want to discuss.
In 2010, he began working on Hollywood Blvd., USA, a new short film for animation festivals. In making the two-minute film, he videotaped people walking and animated them in walk cycles. Hillenburg said in 2012, "I hope to get [the film] done. It takes forever." He was aiming to finish it that fall. In 2013, three years after production began, Hollywood Blvd., USA was released to festivals. Hillenburg characterized it as a "personal film" and said that "it's not a narrative. It's just really about people in our town."
Personal life
Hillenburg married Karen Umland, a Southern Californian chef who teaches at the New School of Cooking in Culver City, in 1998. Hillenburg deemed her to be the funniest person that he knew, and the character of Karen Plankton was named after her. Also in 1998, the couple's first and only child, son Clay, was born. Hillenburg formerly resided in Hollywood and in Pasadena, and he lived with his family in San Marino, California, until his death. His hobbies included surfing, snorkeling, scuba diving, swimming, and performing "noisy rock music" on his guitar. He jammed with his son, who is a drummer, which Hillenburg called "a great way to bond with each other." He also enjoyed birdwatching at home, but said that he was always "an ocean freak".
He was known informally as "Steve" among his family, friends, and fans. According to his colleagues, Hillenburg was "a perfectionist workaholic". He was also known for his private nature. Julia Pistor, co-producer of The SpongeBob SquarePants Movie, noted that Hillenburg was "very shy". She went on to say, "He doesn't want people to know about his life or family. He's just a really funny, down-to-earth guy with a dry sense of humor who puts his family first and keeps us on our toes in keeping our corporate integrity." Hillenburg said about himself, "I make animation because I like to draw and create things. I have no real interest to be on camera or to be a celebrity. It's not that I don't like people, but I like having my privacy."
Philanthropy
Hillenburg, with his wife Karen, had endowed numerous projects and organizations through the United Plankton Charitable Trust, which the couple established in 2005. The foundation, the name of which was adopted from Hillenburg's United Plankton Pictures, supports areas of the two's personal interest, giving under $500,000 annually . Grantees include large, established arts-related organizations such as the Los Angeles County Museum of Art and the Society for the Activation of Social Space through Art and Sound, in which Karen is co-chair. Health accounts for most of their grantmaking; they had gifted to Planned Parenthood (where Karen is member of the board of directors ) and the National Multiple Sclerosis Society, among other national health organizations.
In education, they donated to schools, including the Polytechnic School in Pasadena (which their son attended), CalArts, and Humboldt State University. Donations to the latter helped fund the HSU Marine Lab and the Stephen Hillenburg Marine Science Research Award Endowment, which the couple created in 2018 to support the university's marine-science research students. The previous year, the Princess Grace Foundation introduced the Stephen Hillenburg Animation Scholarship, an annual grant from the Hillenburgs to emerging animators.
Illness, death and legacy
Hillenburg disclosed to Variety magazine in March 2017 that he had been diagnosed with amyotrophic lateral sclerosis (ALS), a fatal neurodegenerative disease that affects the motor neurons in the brain and spinal cord. He released a statement to the publication, in which he said that he would continue to work on SpongeBob SquarePants "for as long as [he is] able." He added: "My family and I are grateful for the outpouring of love and support. We ask that our sincere request for privacy be honored during this time." Hillenburg was in the early stages of the disease at the time, according to a source close to him. During his last days as executive producer, he had difficulty speaking, and it came to the point where he eventually stopped coming to the office.
Hillenburg died at his home on November 26, 2018, at the age of 57, due to the complications. According to his death certificate, his body was cremated and his ashes were scattered in the Pacific Ocean at least off the coast of California the next day.
During the halftime show for Super Bowl LIII, the performing band Maroon 5 arranged to use a clip from the SpongeBob episode "Band Geeks" (which uses the song "Sweet Victory" as part of a spoof of a football halftime show) during their show as a means to pay tribute to Hillenburg. A full clip of the "Sweet Victory" song, including a dedication to Hillenburg, was played inside Mercedes-Benz Stadium, but not during the game, which angered many fans. The song was later included in a promo for ViacomCBS' Paramount+ streaming service during Super Bowl LV.
The TV special SpongeBob's Big Birthday Blowout and the theatrical film The SpongeBob Movie: Sponge on the Run are dedicated to him and his career.
In 2019, a spin-off of SpongeBob SquarePants began production, featuring younger versions of the characters attending summer camp. Former showrunner Paul Tibbitt stated that Hillenburg would have disliked the idea; he commented, "Steve [Hillenburg] would always say to me, 'You know, one of these days, they're going to want to make SpongeBob Babies. That's when I'm out of here.'" Tibbitt also released a statement stating, "I do not mean any disrespect to my colleagues who are working on this show ... [but] they all know full well Steve would have hated this." The concept of Kamp Koral came from a season 12 meeting in October 2018, a month before Hillenburg died. Hillenburg is credited as the creator of Kamp Koral, and is credited on other spin-offs as the characters' creator.
Awards and honors
In 1992, one of Hillenburg's early works, Wormholes, won for Best Concept at the Ottawa International Animation Festival. For SpongeBob SquarePants, Hillenburg was nominated for 17 Emmy Awards, winning in the categories of Outstanding Special Class Animated Program and Outstanding Sound Editing – Animation in 2010 and 2014, respectively. The show has also received several other awards and nominations, including 17 Annie Award nominations, winning six times, as well as winning two British Academy Children's Awards, out of four nominations. In 2002, SpongeBob SquarePants won its first TCA Award for Outstanding Achievement in Children's Programming nomination.
In 2001, Heal the Bay, an environmental nonprofit organization, honored Hillenburg with its Walk the Talk award. He was recognized for raising public awareness of marine life through SpongeBob SquarePants. The following year, Hillenburg was given the Television Animation Award from the National Cartoonists Society, and the Princess Grace Statue Award from the Princess Grace Foundation. In 2018, Hillenburg received the Winsor McCay Award at the 45th Annie Awards, and a special recognition at the 45th Daytime Emmy Awards "for his contribution and impact made in the animation field and within the broadcast industry."
The marine demosponge species Clathria hillenburgi, known from mangrove habitats off the coast of Paraíba, Brazil, was named in honor of Stephen Hillenburg.
On November 18, 2021, Hillenburg was honored with a bench and historical plaque at his alma mater Savannah High School in Anaheim, California. The project was a collaboration between the Hillenburg family, Anaheim Historical Society, and YouTube personality Griffin Hansen. Karen Hillenburg specifically chose a bright yellow bench that "she thought perfectly captured her husband's warmth and goofiness". The memorial was dedicated one day before Savanna High School's 60th anniversary at a school-wide assembly hosted by Hansen and principal Michael Pooley. The event was attended by Karen and Clay Hillenburg, as well as members of Spongebob Squarepants' cast and crew including Tom Kenny, Jill Talley, Rodger Bumpass, Bill Fagerbakke, Clancy Brown, Mr. Lawrence, Marc Ceccarelli, and Derek Drymon.
Filmography
Film
Television
References
Further reading
External links
Stephen Hillenburg at the Nickelodeon Animation Studio website
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2018 deaths
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"Teach Yourself is currently an imprint of Hodder Education and formerly a series published by the English Universities Press (a subsidiary company of Hodder & Stoughton) that specializes in self-instruction books. The series, which began in 1938, is most famous for its language education books, but its titles in mathematics (including algebra and calculus) are also best sellers, and over its long history the series has covered a great many other subjects as well. \"A Concise Guide to Teach Yourself\", compiled by A R Taylor, was published in 1958 and listed all the titles up until then.\n\nOverview\n\nThe Teach Yourself books were published from 1938 until 1966 under the imprint English Universities Press, owned by Hodder & Stoughton. Leonard Cutts (1904-1992) was overall editor from the start, and he remained the editor until 1964. Most titles published during the Second World War were aimed at helping the British nation survive as well as improving knowledge in the subjects that would advance the war effort. Teach Yourself to Fly by Nigel Tangye was published in September 1939 on the eve of the Second World War. It was immediately recommended by the Air Ministry to prospective RAF pilots. Teach Yourself Radio Communication and Teach Yourself Air Navigation were added to the list in 1941. There was a big demand for these books, especially as supplies were constrained by wartime paper shortages. In June 1941 The Times reported that \"sailors, soldiers and airmen have helped to bring the figures of Teach Yourself Mathematics (by John Davidson, 1938) and Teach Yourself Trigonometry (by Percival Abbott, 1940) to nearly 50,000 apiece\". Barely two months later the number had risen to 80,000 each. \n\nBy the 50th anniversary in 1988 some 40 million copies of the Teach Yourself series had been sold, with the books generating a turnover of over £1 million.\n\nLike many similar series, Teach Yourself has always used a common design for all of its books. Most older titles are covered with a distinctive yellow and blue, (formerly black), dust jacket, but over the years the publisher has changed the cover design several times, using an all-blue paperback format during the 1980s, a larger photographic or painted front cover with a black stripe containing the title in the 1990s, and recently adopting a yellow rounded rectangle with a black border as their primary logo in the 21st century.\n\nThe Original Series (19381966)\nThe earliest (EUP) volumes in the series were published in 1938 priced at two shillings and sixpence. The first five books to be published were adaptations from earlier works, but subsequently all were newly commissioned. The original numbering scheme reached to over 700. Notable early titles included:\n Teach Yourself About the Greeks by J. C. Stobart, was abridged from his full length work The Glory that was Greece (1911).\n Teach Yourself Amateur Acting by John Bourne, said to have been read by Michael Caine at the start of his career.\n Teach Yourself Arabic, first published in 1943, was written by Arthur Stanley Tritton. Tritton wrote a number of books on Islam and its history, and from 1938 to 1946 was Professor of Arabic at the School of Oriental and African Studies.\n Teach Yourself Astronomy was written by the noted British astronomer David Stanley Evans in 1957. At the time he was Chief Assistant at the Royal Observatory Cape of Good Hope.\n Teach Yourself Biology was written in 1940 by the pioneering woman physician Mary Elizabeth Phillips (with Lucy Ellen Cox). \n Teach Yourself Colloquial Arabic, first published in 1962, was written by Terence Frederick Mitchell.\n Teach Yourself Embroidery, one of the earliest titles in 1938, was written by Mary Thomas (1889-1948), who was editor of The Needlewoman in the 1920s and 1930s.\n Teach Yourself to Think, also published in 1938, was written by R. W. Jepson, headmaster of the Mercers' School.\n Teach Yourself Turkish, first published in 1953, was written by Geoffrey Lewis.\n Teach Yourself Irish, first published in 1961, was written by Myles Dillon and Donncha Ó Cróinín.\n\nSubjects covered in the series ranged from the vocational (Teach Yourself Banking by John Burgess Parker) to practical home help (Teach Yourself Bringing up Children, Teach Yourself Dressmaking, Teach Yourself Gas in the House, The Teach Yourself Letter Writer), to hobbyist (Teach Yourself Bee-Keeping, Teach Yourself Etching), and language learning (with Arabic, Chinese, French, German, Greek and Hindustani among the earliest titles). The books even stretched to highly technical subjects (Teach Yourself Chemistry, Teach Yourself Atomic Physics) and to the arts (Teach Yourself to Compose Music). One of the most extreme was Teach Yourself Jet Engines and Rocket Propulsion by Patrick Joseph McMahon, published in 1964. \n\nA Concise Guide to Teach Yourself was published in 1958, listing all the titles then available, although the official numbering only began in 1949, so the books published before them were assigned numbers posthumously.\n\nCurrent Series (1966)\nBooks in the Teach Yourself series have been published since 1966 by Hodder & Stoughton, who shifted the format of the books to trade paperbacks in 1973. For 2010, the books had a total redesign, and were printed in colour for the first time. Today they are available around the English-speaking world and cover numerous subjects, from language education to computers, games, and other crafts and hobbies. The company now specialises in self-instruction courses through books, audio and multimedia, with a particular emphasis on languages.\n\nTeach Yourself Languages Series\nThe Teach Yourself Languages range is available in over 65 languages and is available at four different levels. The Teach Yourself Languages range grade the four levels used against the Common European Framework of Reference for Languages (CEFR). In their 2012 range, Teach Yourself introduced a feature called Discovery Method. After each conversation has been practised, the Discovery Method provides further explanation through focusing on usage and practice rather than the focus on rules found in the traditional inductive method.\n\nGet Talking and Get Started Series: The first two strands, Get Talking (audio course) and Get Started, are aimed at absolute beginners and those who have not learnt a language since school. Get Talking is an all-audio course designed to get teach basic speaking in a short period. Get Started In is a more comprehensive course tackling all four skills (reading, writing, listening and speaking).\n\n Arabic\n Brazilian Portuguese\n Cantonese\n Danish\n Dutch\n French\n German\n Greek\n Gujarati\n Hindi\n Hungarian\n Italian\n Japanese\n Korean\n Latin\n Latin American Spanish\n Mandarin Chinese\n Modern Hebrew\n Norwegian\n Polish\n Portuguese\n Russian\n Spanish\n Swedish\n Thai\n Turkish \n Vietnamese\n\nComplete... Series: The third strand is the Complete course, which is again aimed at absolute beginners, but is longer and covers a greater range of material. The Complete range offers the broadest range of products in the Teach Yourself Languages series as it covers all 65 languages available from Teach Yourself. The Complete range includes many of the language volumes earlier included in the Teach Yourself series before the Complete language sub-series was devised.\n\n Afrikaans\n Arabic\n Bengali\n Brazilian Portuguese\n Bulgarian\n Cantonese\n Catalan\n Croatian \n Czech\n Danish\n Dutch\n English as a Foreign Language\n Esperanto\n Estonian\n Tagalog\n French\n Scottish Gaelic\n German\n Greek\n Hindi\n Hungarian\n Icelandic\n Indonesian\n Irish\n Italian\n Japanese\n Korean\n Latin American Spanish\n Latvian\n Lithuanian\n Malay\n Mandarin Chinese\n Modern Hebrew \n Modern Persian \n Nepali\n Norwegian\n Panjabi\n Polish\n Portuguese\n Romanian\n Russian\n Serbian\n Spanish\n Spoken Arabic of the Gulf\n Swahili\n Swedish\n Thai\n Turkish\n Ukrainian\n Urdu\n Vietnamese\n Welsh\n Xhosa \n Zulu\n\nEnjoy... Series: Enjoy is the fourth level, introducing further vocabulary and grammar. This series was formerly marketed as the \"Perfect your...\" series.\n\n German \n Italian\n Norwegian\n Spanish\n French\n Esperanto\n\nAll That Matters\nThe All That Matters series is a series of short introductions to various subjects, intended to allow readers to \"quickly discover all that matters about\" their subjects. , its titles include:\n\n Ancient Egypt\n Animal Rights\n Archaeology\n Astronomy\n Atheism\n Autism Spectrum Disorder\n Bioethics\n Buddhism\n Classical World\n Cyber Crime & Warfare\n Darwin\n Democracy\n Emotion\n Energy\n Euthanasia\n Existentialism\n Free Speech\n Future Cities\n Future\n God\n History of Medicine\n Intelligence\n International Relations\n Judaism\n Love\n Mathematics\n Modern China\n Modern Japan\n Modern Korea\n Muhammad\n Philosophy\n Plato\n Political Philosophy\n Risk\n Sexuality\n Shakespeare's Comedies\n Shakespeare's Tragedies\n Space Exploration\n Stress\n Sustainability\n Terrorism\n The Renaissance\n The Romans\n Water\n\nSee also\nLanguage education\nList of Language Self-Study Programs\n\nReferences\n\nExternal links\nOfficial website\nCollecting Old Teach Yourself Books - older dustjackets in numbered sequence with background details\n Bookride: Teach Yourself Books\n\nPublishing companies established in 1938\nPublishing companies of the United Kingdom\nHodder & Stoughton books\nSelf-help books\n1938 establishments in England",
"Fernando Gerassi (October 5, 1899 – 1974) was a Sephardic Jew born in Turkey. He was an accomplished artist who exhibited alongside Picasso before volunteering to fight in the Spanish Civil War.\n\nPersonal life\nIn 1922 Gerassi met Stephania Avdykovych, a Ukrainian, in Berlin and they were married in 1929. In 1931, their son, John \"Tito\" Gerassi, was born in Paris.\n\nGerassi and his family moved to the United States at the start of World War II and he was hired by Carmelita Hinton, a progressive educator who was the founder and director of the Putney School in Vermont, to teach art at the school. Hinton also employed Gerassi's wife, Stepha, to teach \"anything she wanted\" and she would go on to teach a number of subjects during their years at the school, including French, Spanish, Russian, German, ancient history, Latin, and European history. In 1955 Time magazine reported that to support his family while establishing his art career, he tried \"some 40 different jobs\". From 1944 to 1964 Gerassi was harassed by the CIA who tried to blackmail him by threatening to deport his family if he would not agree to work for them. One of his friends eventually reported the harassment to Abe Fortas, then an aide to Lyndon Johnson. Fortas obtained the CIA file and passed it onto the United States Attorney General, Robert F. Kennedy, who immediately gave Gerassi and his family American citizenship and apologized \"in the name of America\".\n\nArt career\nGerassi's early work was influenced by Stanislas Stueckgold and Paul Cézanne.\n\nIn 1951 Gerassi shared an exhibit with American artist, Georgia O'Keeffe, and then in 1955 he exhibited alone, for the first time in 20 years. His solo exhibition at the Panoras Gallery in Manhattan \"elicited rave reviews\".\n\nGerassi returned to Putney School where he painted until his death in 1974.\n\nReferences\n\nExternal links\n \n Extensive article on Fernando Gerassi \n\n1899 births\n1974 deaths\nJewish painters\nSephardi Jews of the Ottoman Empire\nTurkish Sephardi Jews\nPeople of the Spanish Civil War\n20th-century Turkish painters\nJewish anti-fascists\nJewish socialists"
] |
[
"Stephen Hillenburg",
"Early career",
"What did he start his career in?",
"park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children.",
"What subject did he teach when he became a teacher?",
"marine-biology teacher",
"Did he teach any other subjects alone the years?",
"tide-pool ecology, nautical history, diversity and adaptation."
] |
C_6201d5b174b24dec99fc9ee08806de24_1
|
Between those years did he come up with Sponge bob?
| 4 |
Between the years that Stephen Hillenburg taught marine biology, tide-pool ecology, nautical history, diversity, and adaption, was Sponge bob created?
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Stephen Hillenburg
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After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California that is dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession. While working there, he was asked by one of the educational directors if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters--including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but was turned down by the publishers that he approached. At one point during his tenure with the Orange County Marine Institute, Hillenburg started going to animation festivals such as the International Tournee of Animation and Spike and Mike's Festival of Animation where, at one of those, films made by California Institute of the Arts (colloquially called CalArts) students were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator. In 1989, Hillenburg enrolled in the Experimental Animation Program at CalArts. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considers his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. CANNOTANSWER
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CANNOTANSWER
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Stephen McDannell Hillenburg (August 21, 1961 – November 26, 2018) was an American animator, writer, producer, and marine science educator. Hillenburg created the Nickelodeon animated television series SpongeBob SquarePants, on which he served as the showrunner for the first three seasons of the show, and has become the fifth-longest-running American animated series.
Born in Lawton, Oklahoma, and raised in Anaheim, California, Hillenburg became fascinated with the ocean as a child and developed an interest in art. He started his professional career in 1984, instructing marine biology, at the Orange County Marine Institute, where he wrote The Intertidal Zone, an informative picture book about tide-pool animals, which he used to educate his students. In 1989, two years after leaving teaching, Hillenburg enrolled at the California Institute of the Arts to pursue a career in animation. He was later offered a job on the Nickelodeon animated television series Rocko's Modern Life (19931996) after his success with The Green Beret and Wormholes (both 1992), short films that he made while studying animation.
In 1994, Hillenburg began developing The Intertidal Zone characters and concepts for what became SpongeBob SquarePants. The show has aired continuously since its premiere in 1999. He also directed The SpongeBob SquarePants Movie (2004), which he originally intended to be the series finale. Hillenburg resigned as showrunner, but Nickelodeon continued to produce more episodes after he departed the series. He resumed making short films, with Hollywood Blvd., USA in 2013, but continued to be credited as an executive producer for SpongeBob SquarePants. Hillenburg co-wrote the story for the second film adaptation of the series, The SpongeBob Movie: Sponge Out of Water, which was released in 2015.
Besides his two Emmy Awards and six Annie Awards for SpongeBob SquarePants, Hillenburg also received other recognition, such as an accolade from Heal the Bay for his efforts on elevating marine life awareness, and the Television Animation Award from the National Cartoonists Society. Hillenburg announced he was diagnosed with amyotrophic lateral sclerosis (ALS) in 2017, but stated he would continue to work on SpongeBob SquarePants as long as possible. He died on November 26, 2018, at the age of 57.
Early life and education
Stephen McDannell Hillenburg was born on August21, 1961 at Fort Sill, a United States Army post in Lawton, Oklahoma, where his father, Kelly N. Hillenburg Jr., worked for the U.S. military. His mother, Nancy (née Dufour), taught visually impaired students. When he was a year old, the family moved to Orange County, California, where his father began a career as a draftsman and designer in the aerospace industry. His younger brother, Bryan, eventually became a draftsman/designer as well.
When an interviewer asked Hillenburg to describe himself as a child, he replied that he was "probably well-meaning and naive like all kids." His passion for sea life can be traced to his childhood, when films by French oceanographer Jacques Cousteau made a strong impression on him. Hillenburg said that Cousteau "provided a view into that world", which he had not known existed. He liked to explore tide pools as a child, bringing home objects that "should have been left there and that ended up dying and smelling really bad."
Hillenburg also developed his interest in art at a young age. His first drawing was of an orange slice. An illustration which he drew in third grade, depicting "a bunch of army men... kissing and hugging instead of fighting", brought him the first praise for his artwork, when his teacher commended it. "Of course, this is 1970... She liked it because, I mean, obviously that was in the middle of [the Vietnam War]. She was, I would imagine, not a hundred percent for the war like a lot of people then. ...I had no idea about the implications, really, because I just thought it was a funny idea. I remember that still, that moment when she said, 'oh my gosh, look at that'", Hillenburg elaborated. It was then when he knew he "had some [creative] skill". He asserted that his artistry came from his mother's side, despite his father being a draftsman, noting that his maternal grandmother was "really, really gifted" and a "great painter". In the 1970s, someone took Hillenburg to the International Tournée of Animation at the Los Angeles County Museum of Art. He was "knocked out" by the foreign animated films, including Dutch animator Paul Driessen's The Killing of an Egg (1977). "That was the film that I thought was uniquely strange and that lodged itself in my head early on," he recounted.
He attended Savanna High School in Anaheim, describing himself as a "band geek" who played the trumpet. At age 15, he snorkeled for the first time; Hillenburg took part in a "dive program" at Woods Coves in Laguna Beach, as part of the Regional Occupational Program at Savanna. This experience, as well as subsequent dives, reinforced his interest in, and led to his decision to study, marine biology in college: "The switch clicked and I decided I wanted to be a marine biologist, but I also liked being an artist." Some of his high-school teachers, who knew of his interest in art and fascination with the ocean, advised him otherwise, saying: "You should just draw fish." However, the idea of drawing fish seemed boring to him and he was more riveted by "making weird, little paintings". During a few summers after finishing high school, he worked as a fry cook and lobster boiler at a fast-food seafood restaurant in Maine. (This later inspired SpongeBob SquarePants' occupation in the television series, which he would begin developing in 1994.)
Hillenburg went to Humboldt State University in Arcata, California as a marine-science major. He minored in art, and claimed that "[he] blossomed as a painter in Humboldt." In 1984, he earned his bachelor's degree in natural-resource planning and interpretation, with an emphasis on marine resources. He intended to take a master's degree, but said it would be in art: "Initially I think I assumed that if I went to school for art I would never have any way of making a living, so I thought it might be smarter to keep art my passion and hobby and study something else. But by the time I got to the end of my undergrad work, I realized I should be in art."
Early career
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California, dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession.
While working there, one of the educational directors asked him if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters—including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but the publishers he approached turned him down.
During this time, Hillenburg also started going to animation festivals such as the International Tournée of Animation and Spike and Mike's Festival of Animation where films made by students from the California Institute of the Arts (colloquially called CalArts) were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.
Hillenburg enrolled in CalArts' Experimental Animation Program in 1989. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considered his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. During his time at CalArts, he briefly drew comics for the surfing magazine KEMA in 1990.
Animation career
Early works
Hillenburg made his first animated works, short films The Green Beret (1991) and Wormholes (1992), while at CalArts. The Green Beret was about a physically challenged Girl Scout with enormous fists who toppled houses and destroyed neighborhoods while trying to sell Girl Scout cookies. Wormholes was his seven-minute thesis film, about the theory of relativity. He described the latter as "a poetic animated film based on relativistic phenomena" in his grant proposal in 1991 to the Princess Grace Foundation, which assists emerging artists in American theater, dance, and film. The foundation agreed to fund the effort, providing Hillenburg with a Graduate Film Scholarship. "It meant a lot. They funded one of the projects I'm most proud of, even with SpongeBob. It provided me the opportunity just to make a film that was personal, and what I would call independent, and free of some of the commercial needs," he said in 2003. Wormholes was shown at several international animation festivals, including: the Annecy International Animated Film Festival; the Hiroshima International Animation Festival; the Los Angeles International Animation Celebration; the International Short Film Festival Oberhausen; and the Ottawa International Animation Festival, where it won Best Concept. LA Weekly labeled the film "road-trippy" and "Zap-comical", while Manohla Dargis of The New York Times opined that it was inventive.
Hillenburg explained that "anything goes" in experimental animation. Although this allowed him to explore alternatives to conventional methods of filmmaking, he still ventured to employ "an industry style"; he preferred to traditionally animate his films (where each frame is drawn by hand) rather than, for instance, make cartoons "out of sand by filming piles of sand changing". Hillenburg had at least one other short film that he made as an animation student but its title is unspecified.
Rocko's Modern Life
Hillenburg's first professional job in the animation business was as a director on Rocko's Modern Life (19931996), Nickelodeon's first in-house cartoon production. He "ended up finding work in the industry and got a job" at the television network after he met the show's creator, Joe Murray, at the 1992 Ottawa International Animation Festival, where Wormholes and Murray's My Dog Zero were both in competition. Murray, who was looking for people to direct Rocko's Modern Life at the time, saw Hillenburg's film and offered him a directorial role on the television series. He "[had] friends that [gave him] a hard time about [the offer]. ... but doors opened when [he] stepped into the animation world," so he accepted it. He "was planning on being a starving artist": "[I spent] several thousand dollars to make a film and [realized] I may not make it backI had loans out. Fortunately, Joe Murray saw my film... and he took a huge chance," Hillenburg related.
Hillenburg worked closely with Murray on Rocko's Modern Life for its whole run on the air. Aside from directing, he also produced, wrote and storyboarded for some episodes, and served as the executive story editor. In 1995, during the show's fourth and final season, he was promoted to creative director, where he helped oversee pre- and post-production. Working on the series enabled him to repay his loans. He later related that he "learned a great deal about writing and producing animation for TV" from his stint on Rocko's Modern Life.
SpongeBob SquarePants
Creation
Some evidence shows that the idea for SpongeBob SquarePants dates back to 1986, during Hillenburg's time at the Orange County Marine Institute. He indicated that children's television series such as The New Adventures of Mighty Mouse (19871988) and Pee-wee's Playhouse (19861991) "sparked something in [him]." He continued, "I don't know if this is true for everybody else, but it always seems like, for me, I'll start thinking about something and it takes about ten years to actually have it happen, or have someone else believe in it... It took me a few years to get [SpongeBob SquarePants] together."
During the production of Rocko's Modern Life, Martin Olson, one of the writers, read The Intertidal Zone and encouraged Hillenburg to create a television series with a similar concept. At that point, he had not even considered creating his own series: "After watching Joe [Murray] tear his hair out a lot, dealing with all the problems that came up, I thought I would never want to produce a show of my own." However, he realized that if he ever did, this would be the best approach: "For all those years it seemed like I was doing these two totally separate things. I wondered what it all meant. I didn't see a synthesis. It was great when [my two interests] all came together in [a show]. I felt relieved that I hadn't wasted a lot of time doing something that I then abandoned to do something else. It has been pretty rewarding," Hillenburg said in 2002. He claimed that he finally decided to create a series as he was driving to the beach on the Santa Monica Freeway one day.
As he was developing the show's concept, Hillenburg remembered his teaching experience at the Orange County Marine Institute and how mesmerized children were by tide-pool animals, including crabs, octopuses, starfish, and sponges. It came to him that the series should take place underwater, with a focus on those creatures: "I wanted to create a small town underwater where the characters were more like us than like fish. They have fire. They take walks. They drive. They have pets and holidays." It suited what Hillenburg liked for a show, "something that was fantastic but believable." He also wanted his series to stand out from most popular cartoons of the time exemplified by buddy comedies such as The Ren & Stimpy Show (19911995). As a result, he decided to focus on one main character: the weirdest sea creature that he could think of. This led him to the sponge: "I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one." In 1994, Hillenburg began to further develop some characters from The Intertidal Zone, including Bob the Sponge.
Bob the Sponge is the comic's "announcer". He resembles an actual sea sponge, and at first Hillenburg continued this design because it "was the correct thing to do biologically as a marine-science teacher." In determining the new character's personality, he drew inspiration from innocent, childlike figures that he enjoyed, such as Charlie Chaplin, Laurel and Hardy, Jerry Lewis, Pee-wee Herman, Abbott and Costello, and The Three Stooges. He then considered modeling the character after a kitchen sponge, and realized that this idea would match the character's square personality perfectly: "[I]t looked so funny. I think as far as cartoon language goes he was easier to recognize. He seemed to fit the character type I was looking fora somewhat nerdy, squeaky clean oddball." To voice the central character of the series, Hillenburg turned to Tom Kenny, whose career in animation had begun with his on Rocko's Modern Life. Elements of Kenny's own personality were employed in further developing the character.
While pitching the cartoon to executives at Nickelodeon, Hillenburg donned a Hawaiian shirt, brought along an "underwater terrarium with models of the characters", and played Hawaiian music to set the theme. Nickelodeon executive Eric Coleman described the setup as "pretty amazing". Although Derek Drymon, creative director of SpongeBob SquarePants, described the pitch as stressful, he said it went "very well". Nickelodeon approved and gave Hillenburg money to produce the show.
Broadcast
SpongeBob SquarePants was Nickelodeon's first original Saturday-morning cartoon. It first aired as a preview on May 1, 1999, and officially premiered on July 17 of the same year. Hillenburg noted that the show's premise "is that innocence prevailswhich I don't think it always does in real life." It has received positive reviews from critics, and has been noted for its appeal to different age groups. James Poniewozik of Time magazine described the titular character as "the anti-Bart Simpson, temperamentally and physically: his head is as squared-off and neat as Bart's is unruly, and he has a personality to matchconscientious, optimistic and blind to the faults in the world and those around him." On the other hand, The New York Times critic Joyce Millman said that the show "is clever without being impenetrable to young viewers and goofy without boring grown-ups to tears. It's the most charming toon on television, and one of the weirdest. ...Like Pee-wee's Playhouse, SpongeBob joyfully dances on the fine line between childhood and adulthood, guilelessness and camp, the warped and the sweet."
SpongeBob SquarePants was an immediate hit. Within its first month on air, it overtook Pokémon (1997) as the highest-rated Saturday morning children's series. By the end of 2001, the show boasted the highest ratings of any children's series on television. Nickelodeon began adding SpongeBob SquarePants to its Monday-through-Thursday prime-time block. This programming change increased the number of older viewers significantly. By May 2002, the show's total viewership reached more than 61 million, 20 million of which were aged 18 to 49. Hillenburg did not expect the show would be very popular even to adults: "I never imagined that it would get to this point. When you set out to do a show about a sponge, you can't anticipate this kind of craze. We just try to make ourselves laugh, then ask if it's appropriate for children. I can tell you that we hoped it would be liked by adults. But we really thought the best we could hope for was a college audience." SpongeBob SquarePants has gone on to become one of the longest-running series on Nickelodeon. "Ten years. I never imagined working on the show to this date and this long. It never was possible to conceive that. ...I really figured we might get a season and a cult following, and that might be it," Hillenburg said in 2009 during the show's tenth anniversary. Its popularity has made it a media franchise, which is the most-distributed property of MTV Networks. , it has generated $12 billion in merchandising revenue.
Departure
In 2002, Hillenburg halted production of the show after the third season was completed to focus on the making of The SpongeBob SquarePants Movie which was released in 2004: "I don't want to try and do a movie and the series at the same time. We have 60 episodes and that is probably as many as [Nickelodeon] really needs. It is a standard number for a show like this. I have done a little research and people say it is just crazy doing a series and movie at the same time. I would rather concentrate on doing a good job on the movie," he noted. He directed the film from a story that he conceived with five other writer-animators from the series: Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne, and Tim Hill. The writers created a mythical hero's quest: the search for a stolen crown, which brings SpongeBob and his best friend Patrick to the surface. In 2003, during the production of The SpongeBob SquarePants Movie, his mentor Jules Engel died at the age of 94. Hillenburg dedicated the film to his memory. He said that Engel "truly was the most influential artistic person in [his] life." The SpongeBob SquarePants Movie grossed $140 million worldwide, and received positive reviews from critics. The review-aggregator website Rotten Tomatoes rates it 68 percent positive based on 125 reviews, with an average rating of 6.2/10. Its consensus states in summary, "Surreally goofy and entertaining for both children and their parents."
After completing the film, Hillenburg wanted to end the series "so [it] wouldn't jump the shark." "We're working on episodes 40 through 60 right now, and I always looked at that as a typical run for an animated show. [The Ren & Stimpy Show] lasted about that long, for example. And I thought now was a good time to step aside and look at a different project. I personally think it's good not to go to the point where people don't want to see your show anymore," Hillenburg said in 2002. However, Nickelodeon wanted to produce more episodes: "The show was such a cash cow for the station that it couldn't afford not to," storyboard director Sam Henderson observed. Initially Hillenburg doubted that the network would continue the show without him, saying: "I think [Nickelodeon executives] respect that my contribution is important. I think they would want to maintain the original concept and quality." Consequently, he resigned as the showrunner and appointed his trusted staff member Paul Tibbitt to the role. Although he no longer had a direct involvement producing SpongeBob SquarePants, he retained his position as an executive producer and maintained an advisory role, reviewing each episode. Tibbitt started out as a supervising producer but rose up to executive producer when Hillenburg went into semi-retirement in 2004. While he was on the show, he voiced Potty the Parrot and sat in with Derek Drymon at the record studio to direct the voice actors while they were recording. During the fourth season, Tibbitt took on voicing for Potty, while Andrea Romano replaced the two as the voice director.
In 2014, Tibbitt announced on his Twitter account that Hillenburg would return to the show. However, he did not specify what position the former showrunner would hold. As early as 2012, Hillenburg had already been contributing to another film based on the series, which was first reported in 2011 and officially announced the following year, with Tibbitt as director. Tibbitt also wrote the story with Hillenburg, who "[had] been in the studio everyday working with [the crew]." Besides writing, Hillenburg also executive-produced. He said in 2014: "Actually when [the film] wraps, I want to get back to the show. ...it is getting harder and harder to come up with stories. So Paul [Tibbitt] and I are really going to brainstorm and come up with fresh material." Called The SpongeBob Movie: Sponge Out of Water, the second film adaptation was released in 2015 to positive critical reception, currently holding a Rotten Tomatoes approval rating of 80 percent and an average rating of 6.5/10. It earned $323.4 million worldwide, becoming the second highest-grossing film based on an animated television show, behind The Simpsons Movie (2007).
Other pursuits
In 1998, Hillenburg formed United Plankton Pictures Inc., a television and film production company, which produces SpongeBob SquarePants and related media. From 2011 to 2018, the company published SpongeBob Comics, a comic-book series based on the cartoon. Hillenburg announced the venture in a 2011 press release, where he said, "I'm hoping that fans will enjoy finally having a SpongeBob comic book from me." Various cartoonists, including James Kochalka, Hilary Barta, Graham Annable, Gregg Schigiel, and Jacob Chabot, have contributed to issues of the comic.
According to Jeff Lenburg, in his book Who's Who in Animated Cartoons, Hillenburg was co-writing and co-directing a second animated feature film based on Rob Zombie's comic-book series, The Haunted World of El Superbeasto, which was slated for a 2006 release. He helped to write Diggs Tailwagger, a 2007 pilot by Derek Drymon. Hillenburg stated in 2009 that he was developing two other television projects that he did not want to discuss.
In 2010, he began working on Hollywood Blvd., USA, a new short film for animation festivals. In making the two-minute film, he videotaped people walking and animated them in walk cycles. Hillenburg said in 2012, "I hope to get [the film] done. It takes forever." He was aiming to finish it that fall. In 2013, three years after production began, Hollywood Blvd., USA was released to festivals. Hillenburg characterized it as a "personal film" and said that "it's not a narrative. It's just really about people in our town."
Personal life
Hillenburg married Karen Umland, a Southern Californian chef who teaches at the New School of Cooking in Culver City, in 1998. Hillenburg deemed her to be the funniest person that he knew, and the character of Karen Plankton was named after her. Also in 1998, the couple's first and only child, son Clay, was born. Hillenburg formerly resided in Hollywood and in Pasadena, and he lived with his family in San Marino, California, until his death. His hobbies included surfing, snorkeling, scuba diving, swimming, and performing "noisy rock music" on his guitar. He jammed with his son, who is a drummer, which Hillenburg called "a great way to bond with each other." He also enjoyed birdwatching at home, but said that he was always "an ocean freak".
He was known informally as "Steve" among his family, friends, and fans. According to his colleagues, Hillenburg was "a perfectionist workaholic". He was also known for his private nature. Julia Pistor, co-producer of The SpongeBob SquarePants Movie, noted that Hillenburg was "very shy". She went on to say, "He doesn't want people to know about his life or family. He's just a really funny, down-to-earth guy with a dry sense of humor who puts his family first and keeps us on our toes in keeping our corporate integrity." Hillenburg said about himself, "I make animation because I like to draw and create things. I have no real interest to be on camera or to be a celebrity. It's not that I don't like people, but I like having my privacy."
Philanthropy
Hillenburg, with his wife Karen, had endowed numerous projects and organizations through the United Plankton Charitable Trust, which the couple established in 2005. The foundation, the name of which was adopted from Hillenburg's United Plankton Pictures, supports areas of the two's personal interest, giving under $500,000 annually . Grantees include large, established arts-related organizations such as the Los Angeles County Museum of Art and the Society for the Activation of Social Space through Art and Sound, in which Karen is co-chair. Health accounts for most of their grantmaking; they had gifted to Planned Parenthood (where Karen is member of the board of directors ) and the National Multiple Sclerosis Society, among other national health organizations.
In education, they donated to schools, including the Polytechnic School in Pasadena (which their son attended), CalArts, and Humboldt State University. Donations to the latter helped fund the HSU Marine Lab and the Stephen Hillenburg Marine Science Research Award Endowment, which the couple created in 2018 to support the university's marine-science research students. The previous year, the Princess Grace Foundation introduced the Stephen Hillenburg Animation Scholarship, an annual grant from the Hillenburgs to emerging animators.
Illness, death and legacy
Hillenburg disclosed to Variety magazine in March 2017 that he had been diagnosed with amyotrophic lateral sclerosis (ALS), a fatal neurodegenerative disease that affects the motor neurons in the brain and spinal cord. He released a statement to the publication, in which he said that he would continue to work on SpongeBob SquarePants "for as long as [he is] able." He added: "My family and I are grateful for the outpouring of love and support. We ask that our sincere request for privacy be honored during this time." Hillenburg was in the early stages of the disease at the time, according to a source close to him. During his last days as executive producer, he had difficulty speaking, and it came to the point where he eventually stopped coming to the office.
Hillenburg died at his home on November 26, 2018, at the age of 57, due to the complications. According to his death certificate, his body was cremated and his ashes were scattered in the Pacific Ocean at least off the coast of California the next day.
During the halftime show for Super Bowl LIII, the performing band Maroon 5 arranged to use a clip from the SpongeBob episode "Band Geeks" (which uses the song "Sweet Victory" as part of a spoof of a football halftime show) during their show as a means to pay tribute to Hillenburg. A full clip of the "Sweet Victory" song, including a dedication to Hillenburg, was played inside Mercedes-Benz Stadium, but not during the game, which angered many fans. The song was later included in a promo for ViacomCBS' Paramount+ streaming service during Super Bowl LV.
The TV special SpongeBob's Big Birthday Blowout and the theatrical film The SpongeBob Movie: Sponge on the Run are dedicated to him and his career.
In 2019, a spin-off of SpongeBob SquarePants began production, featuring younger versions of the characters attending summer camp. Former showrunner Paul Tibbitt stated that Hillenburg would have disliked the idea; he commented, "Steve [Hillenburg] would always say to me, 'You know, one of these days, they're going to want to make SpongeBob Babies. That's when I'm out of here.'" Tibbitt also released a statement stating, "I do not mean any disrespect to my colleagues who are working on this show ... [but] they all know full well Steve would have hated this." The concept of Kamp Koral came from a season 12 meeting in October 2018, a month before Hillenburg died. Hillenburg is credited as the creator of Kamp Koral, and is credited on other spin-offs as the characters' creator.
Awards and honors
In 1992, one of Hillenburg's early works, Wormholes, won for Best Concept at the Ottawa International Animation Festival. For SpongeBob SquarePants, Hillenburg was nominated for 17 Emmy Awards, winning in the categories of Outstanding Special Class Animated Program and Outstanding Sound Editing – Animation in 2010 and 2014, respectively. The show has also received several other awards and nominations, including 17 Annie Award nominations, winning six times, as well as winning two British Academy Children's Awards, out of four nominations. In 2002, SpongeBob SquarePants won its first TCA Award for Outstanding Achievement in Children's Programming nomination.
In 2001, Heal the Bay, an environmental nonprofit organization, honored Hillenburg with its Walk the Talk award. He was recognized for raising public awareness of marine life through SpongeBob SquarePants. The following year, Hillenburg was given the Television Animation Award from the National Cartoonists Society, and the Princess Grace Statue Award from the Princess Grace Foundation. In 2018, Hillenburg received the Winsor McCay Award at the 45th Annie Awards, and a special recognition at the 45th Daytime Emmy Awards "for his contribution and impact made in the animation field and within the broadcast industry."
The marine demosponge species Clathria hillenburgi, known from mangrove habitats off the coast of Paraíba, Brazil, was named in honor of Stephen Hillenburg.
On November 18, 2021, Hillenburg was honored with a bench and historical plaque at his alma mater Savannah High School in Anaheim, California. The project was a collaboration between the Hillenburg family, Anaheim Historical Society, and YouTube personality Griffin Hansen. Karen Hillenburg specifically chose a bright yellow bench that "she thought perfectly captured her husband's warmth and goofiness". The memorial was dedicated one day before Savanna High School's 60th anniversary at a school-wide assembly hosted by Hansen and principal Michael Pooley. The event was attended by Karen and Clay Hillenburg, as well as members of Spongebob Squarepants' cast and crew including Tom Kenny, Jill Talley, Rodger Bumpass, Bill Fagerbakke, Clancy Brown, Mr. Lawrence, Marc Ceccarelli, and Derek Drymon.
Filmography
Film
Television
References
Further reading
External links
Stephen Hillenburg at the Nickelodeon Animation Studio website
1961 births
2018 deaths
20th-century American male writers
20th-century American painters
20th-century American educators
20th-century American biologists
21st-century American male actors
21st-century American male writers
21st-century American painters
21st-century male artists
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American art directors
American cartoonists
American comics artists
American experimental filmmakers
American male painters
American male screenwriters
American male voice actors
American marine biologists
American storyboard artists
American surrealist artists
American television directors
American television writers
American voice directors
American patrons of the arts
American animated film directors
American animated film producers
Animators from California
Animators from Oklahoma
Annie Award winners
Burials at sea
California Institute of the Arts alumni
Creative directors
Deaths from motor neuron disease
Neurological disease deaths in California
Educators from California
Educators from Oklahoma
Film directors from California
Film directors from Oklahoma
Film producers from California
Film producers from Oklahoma
California State Polytechnic University, Humboldt alumni
Male actors from California
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Patrons of schools
People from Anaheim, California
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Philanthropists from California
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Screenwriters from California
Screenwriters from Oklahoma
Showrunners
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American people of Belgian descent
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American people of Irish descent
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[
"Andrew Patalan (born March 14, 1970) is an American musician best known as the guitarist and backing vocalist for the alternative rock band Sponge. He also is a founding member of Solid Frog and Throttlebody. He was also the guitarist for Brownsville Station from 2011–2013. His brother Tim Patalan is the bassist and producer of Sponge. He is the owner of his home studio, ATP Productions in Shelby Township, Michigan, and he is the co-owner of The Loft Recording Studio in Saline, Michigan.\n\nPersonal life\nPatalan grew up on a farm in Saline, Michigan with his brother Tim. One of the barns on this farm was later turned into his recording studio called The Loft Recording Studio, which he is the co-owner of along with his brother, and has been the studio for recording over 500 bands since 1988.\n\nSponge\nPatalan joined Sponge in 2004, after a major line-up change in the band. He and guitarist that was in Patalan's other bands, Kyle Neely joined after former guitarists Joey Mazzola and Kurt Marschke left the band, making singer Vinnie Dombroski the only original member. Although Patalan was new to the guitar role in Sponge, he was very familiar with the band. He was the assistant engineer for the Sponge albums Rotting Piñata (1994), Wax Ecstatic (1996), and New Pop Sunday (1999). His first album with Sponge while playing guitar is the 2005 EP Hard to Keep My Cool. His first studio album with Sponge is The Man from 2005. Patalan's first live album with Sponge was released in 2007, called Alive in Detroit, this was also Sponge's first live album ever. His second studio album with Sponge was the 2007 release Galore Galore. Patalan's second EP with Sponge, Destroy the Boy was released in 2010. In 2013 Sponge participated in the Summerland Tour. This was a tour with Filter, LIVE, and Everclear. On this tour is where the newest Sponge album, Stop the Bleeding was first released on Three One Three Records, the album was only available at Summerland shows. It was later announced that Sponge signed to The End Records to release the album nationally in September 2013.\n\nSolid Frog\nSolid Frog is a Detroit-based grunge band in which Patalan is the lead singer and guitarist of. Two albums have been released by this band, Supercoat (1995) and Pepperspray (1997). They got some airplay on radio stations, especially the song \"Standard Day\". The second album also received some airplay, but not as much as the first one.\n\nBrownsville Station\nPatalan joined the rock band Brownsville Station in 2011. Brownsville Station is most remembered for their 1973 hit single Smokin' in the Boys Room. He briefly played guitar and sang before he left the band in 2013. He recorded one album with the band.\n\nThrottlebody\nThrottlebody is a band made up of three members of Solid Frog. Andy Patalan, Kyle Neely, and Mike Purcell formed Throttlebody and released a self-titled album in 2002.\n\nContributions to other bands\nPatalan has worked with a number of other bands and recording artists. When he is not playing one of the many instruments that he plays (guitar, percussion, bass guitar, piano, or vocals), he often works as a mixer, producer or sound engineer.\n\nActing\nPatalan has appeared as himself on TV shows such as The Late Late Show with Craig Kilborn, The View, The Wayne Brady Show, and Cold Pizza. He also appeared on All My Children performing songs with Bob Guiney. Patalan has also composed music for TV shows and documentaries such as Chasing Jimmy! and Denton Rose's Shorts.\n\nReferences\n\nFurther reading\n\nExternal links\n The Loft Recording\n \n\n1970 births\nLiving people\nGuitarists from Ohio\nPeople from Lorain, Ohio\nPeople from Saline, Michigan\nMusicians from Michigan\nAmerican male guitarists\n21st-century American guitarists\n21st-century American male musicians",
"Chris Cantada is a Filipino musician, vlogger and cosplayer best known as the former drummer and backing vocalist of the band Sponge Cola. He was featured in the music video of Sponge Cola's \"Tambay\" in a cameo guest appearance per post band departure.\n\nCantada released his solo album Heartbeat with the carrier single of the same name. The music video for \"Heartbeat\" shows Cantada played all musical instruments for the song.\n\nEarly life\nBorn Christopher Cantada on January 24, 1985. He attended high school at Ateneo de Manila University.\n\nDeparture statement\nThis was a message from Erwin “Armo” Armovit (lead guitarist) in a certain fansite:\n\nCareer\n\nSponge Cola\nThe band made up of Yael Yuzon (vocals-guitar), Gosh Dilay (bass), Erwin Armovit (lead guitar) and Chris Cantada (drums) were all college buddies from the Ateneo de Manila University. Sponge Cola's debut album Palabas, was released in 2004 under Sony BMG, spawning radio hits like \"KLSP\", \"Gemini\", and \"Jeepney\".\n\nSponge Cola's acoustic live cover of the Madonna classic \"Crazy for You\" gained popularity among fans and casual listeners after it became an Internet download favorite.\n\nRight after finishing college, the quartet immediately dished out their second record, Transit, under Universal Records in 2006. The album found a more focused unit as proven by the strong radio singles like the anthemic \"Bitiw\", \"Tuliro\" and \"Pasubali\".\n\nSponge Cola also graced two of the most successful tribute records come out recently: The Eraserheads' Ultraelectromagneticjam where they did a cover of \"Pare Ko\" and the APO Hiking Society's two-volume disc Kami nAPO Muna (\"Nakapagtataka\") and Kami nAPO Muna Ulit (\"Saan Na Nga Ba Ang Barkada\").\n\nSponge Cola's eponymous third album under Universal Records was released on September 19, 2008 and launched on September 26 at Eastwood in Libis Quezon City.\n\nCantada's departure however was done gradually because he was still in the band's fouthcoming videos and TV appearances meant to promote new records. Sponge Cola hired session drummers to fill in Cantada's slot during live gigs, until Tedmark Cruz was officially announced as the new drummer in 2009.\n\nSolo\nAfter leaving Sponge Cola for three years due to health problems, Cantada released his solo debut album entitled Heartbeat (all songs written by Cantada himself), distributed under Universal Records and co-produced by Yael Yuzon.\n\nDiscography\n\nWith Sponge Cola\nAlbums \nPalabas (2004) \nTransit (2006) \nSponge Cola (2008)\nEPs\nSponge Cola EP\n\nSolo\nAlbums\nHeartbeat (2011)\n\nReferences\n\n1985 births\nLiving people\n21st-century Filipino musicians\nAteneo de Manila University alumni\nPlace of birth missing (living people)\nUniversal Records (Philippines) artists"
] |
[
"Stephen Hillenburg",
"Early career",
"What did he start his career in?",
"park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children.",
"What subject did he teach when he became a teacher?",
"marine-biology teacher",
"Did he teach any other subjects alone the years?",
"tide-pool ecology, nautical history, diversity and adaptation.",
"Between those years did he come up with Sponge bob?",
"I don't know."
] |
C_6201d5b174b24dec99fc9ee08806de24_1
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What year was he teaching or start?
| 5 |
What year did Stephen Hillenburg start teaching?
|
Stephen Hillenburg
|
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California that is dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession. While working there, he was asked by one of the educational directors if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters--including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but was turned down by the publishers that he approached. At one point during his tenure with the Orange County Marine Institute, Hillenburg started going to animation festivals such as the International Tournee of Animation and Spike and Mike's Festival of Animation where, at one of those, films made by California Institute of the Arts (colloquially called CalArts) students were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator. In 1989, Hillenburg enrolled in the Experimental Animation Program at CalArts. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considers his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. CANNOTANSWER
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1984,
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Stephen McDannell Hillenburg (August 21, 1961 – November 26, 2018) was an American animator, writer, producer, and marine science educator. Hillenburg created the Nickelodeon animated television series SpongeBob SquarePants, on which he served as the showrunner for the first three seasons of the show, and has become the fifth-longest-running American animated series.
Born in Lawton, Oklahoma, and raised in Anaheim, California, Hillenburg became fascinated with the ocean as a child and developed an interest in art. He started his professional career in 1984, instructing marine biology, at the Orange County Marine Institute, where he wrote The Intertidal Zone, an informative picture book about tide-pool animals, which he used to educate his students. In 1989, two years after leaving teaching, Hillenburg enrolled at the California Institute of the Arts to pursue a career in animation. He was later offered a job on the Nickelodeon animated television series Rocko's Modern Life (19931996) after his success with The Green Beret and Wormholes (both 1992), short films that he made while studying animation.
In 1994, Hillenburg began developing The Intertidal Zone characters and concepts for what became SpongeBob SquarePants. The show has aired continuously since its premiere in 1999. He also directed The SpongeBob SquarePants Movie (2004), which he originally intended to be the series finale. Hillenburg resigned as showrunner, but Nickelodeon continued to produce more episodes after he departed the series. He resumed making short films, with Hollywood Blvd., USA in 2013, but continued to be credited as an executive producer for SpongeBob SquarePants. Hillenburg co-wrote the story for the second film adaptation of the series, The SpongeBob Movie: Sponge Out of Water, which was released in 2015.
Besides his two Emmy Awards and six Annie Awards for SpongeBob SquarePants, Hillenburg also received other recognition, such as an accolade from Heal the Bay for his efforts on elevating marine life awareness, and the Television Animation Award from the National Cartoonists Society. Hillenburg announced he was diagnosed with amyotrophic lateral sclerosis (ALS) in 2017, but stated he would continue to work on SpongeBob SquarePants as long as possible. He died on November 26, 2018, at the age of 57.
Early life and education
Stephen McDannell Hillenburg was born on August21, 1961 at Fort Sill, a United States Army post in Lawton, Oklahoma, where his father, Kelly N. Hillenburg Jr., worked for the U.S. military. His mother, Nancy (née Dufour), taught visually impaired students. When he was a year old, the family moved to Orange County, California, where his father began a career as a draftsman and designer in the aerospace industry. His younger brother, Bryan, eventually became a draftsman/designer as well.
When an interviewer asked Hillenburg to describe himself as a child, he replied that he was "probably well-meaning and naive like all kids." His passion for sea life can be traced to his childhood, when films by French oceanographer Jacques Cousteau made a strong impression on him. Hillenburg said that Cousteau "provided a view into that world", which he had not known existed. He liked to explore tide pools as a child, bringing home objects that "should have been left there and that ended up dying and smelling really bad."
Hillenburg also developed his interest in art at a young age. His first drawing was of an orange slice. An illustration which he drew in third grade, depicting "a bunch of army men... kissing and hugging instead of fighting", brought him the first praise for his artwork, when his teacher commended it. "Of course, this is 1970... She liked it because, I mean, obviously that was in the middle of [the Vietnam War]. She was, I would imagine, not a hundred percent for the war like a lot of people then. ...I had no idea about the implications, really, because I just thought it was a funny idea. I remember that still, that moment when she said, 'oh my gosh, look at that'", Hillenburg elaborated. It was then when he knew he "had some [creative] skill". He asserted that his artistry came from his mother's side, despite his father being a draftsman, noting that his maternal grandmother was "really, really gifted" and a "great painter". In the 1970s, someone took Hillenburg to the International Tournée of Animation at the Los Angeles County Museum of Art. He was "knocked out" by the foreign animated films, including Dutch animator Paul Driessen's The Killing of an Egg (1977). "That was the film that I thought was uniquely strange and that lodged itself in my head early on," he recounted.
He attended Savanna High School in Anaheim, describing himself as a "band geek" who played the trumpet. At age 15, he snorkeled for the first time; Hillenburg took part in a "dive program" at Woods Coves in Laguna Beach, as part of the Regional Occupational Program at Savanna. This experience, as well as subsequent dives, reinforced his interest in, and led to his decision to study, marine biology in college: "The switch clicked and I decided I wanted to be a marine biologist, but I also liked being an artist." Some of his high-school teachers, who knew of his interest in art and fascination with the ocean, advised him otherwise, saying: "You should just draw fish." However, the idea of drawing fish seemed boring to him and he was more riveted by "making weird, little paintings". During a few summers after finishing high school, he worked as a fry cook and lobster boiler at a fast-food seafood restaurant in Maine. (This later inspired SpongeBob SquarePants' occupation in the television series, which he would begin developing in 1994.)
Hillenburg went to Humboldt State University in Arcata, California as a marine-science major. He minored in art, and claimed that "[he] blossomed as a painter in Humboldt." In 1984, he earned his bachelor's degree in natural-resource planning and interpretation, with an emphasis on marine resources. He intended to take a master's degree, but said it would be in art: "Initially I think I assumed that if I went to school for art I would never have any way of making a living, so I thought it might be smarter to keep art my passion and hobby and study something else. But by the time I got to the end of my undergrad work, I realized I should be in art."
Early career
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California, dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession.
While working there, one of the educational directors asked him if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters—including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but the publishers he approached turned him down.
During this time, Hillenburg also started going to animation festivals such as the International Tournée of Animation and Spike and Mike's Festival of Animation where films made by students from the California Institute of the Arts (colloquially called CalArts) were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.
Hillenburg enrolled in CalArts' Experimental Animation Program in 1989. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considered his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. During his time at CalArts, he briefly drew comics for the surfing magazine KEMA in 1990.
Animation career
Early works
Hillenburg made his first animated works, short films The Green Beret (1991) and Wormholes (1992), while at CalArts. The Green Beret was about a physically challenged Girl Scout with enormous fists who toppled houses and destroyed neighborhoods while trying to sell Girl Scout cookies. Wormholes was his seven-minute thesis film, about the theory of relativity. He described the latter as "a poetic animated film based on relativistic phenomena" in his grant proposal in 1991 to the Princess Grace Foundation, which assists emerging artists in American theater, dance, and film. The foundation agreed to fund the effort, providing Hillenburg with a Graduate Film Scholarship. "It meant a lot. They funded one of the projects I'm most proud of, even with SpongeBob. It provided me the opportunity just to make a film that was personal, and what I would call independent, and free of some of the commercial needs," he said in 2003. Wormholes was shown at several international animation festivals, including: the Annecy International Animated Film Festival; the Hiroshima International Animation Festival; the Los Angeles International Animation Celebration; the International Short Film Festival Oberhausen; and the Ottawa International Animation Festival, where it won Best Concept. LA Weekly labeled the film "road-trippy" and "Zap-comical", while Manohla Dargis of The New York Times opined that it was inventive.
Hillenburg explained that "anything goes" in experimental animation. Although this allowed him to explore alternatives to conventional methods of filmmaking, he still ventured to employ "an industry style"; he preferred to traditionally animate his films (where each frame is drawn by hand) rather than, for instance, make cartoons "out of sand by filming piles of sand changing". Hillenburg had at least one other short film that he made as an animation student but its title is unspecified.
Rocko's Modern Life
Hillenburg's first professional job in the animation business was as a director on Rocko's Modern Life (19931996), Nickelodeon's first in-house cartoon production. He "ended up finding work in the industry and got a job" at the television network after he met the show's creator, Joe Murray, at the 1992 Ottawa International Animation Festival, where Wormholes and Murray's My Dog Zero were both in competition. Murray, who was looking for people to direct Rocko's Modern Life at the time, saw Hillenburg's film and offered him a directorial role on the television series. He "[had] friends that [gave him] a hard time about [the offer]. ... but doors opened when [he] stepped into the animation world," so he accepted it. He "was planning on being a starving artist": "[I spent] several thousand dollars to make a film and [realized] I may not make it backI had loans out. Fortunately, Joe Murray saw my film... and he took a huge chance," Hillenburg related.
Hillenburg worked closely with Murray on Rocko's Modern Life for its whole run on the air. Aside from directing, he also produced, wrote and storyboarded for some episodes, and served as the executive story editor. In 1995, during the show's fourth and final season, he was promoted to creative director, where he helped oversee pre- and post-production. Working on the series enabled him to repay his loans. He later related that he "learned a great deal about writing and producing animation for TV" from his stint on Rocko's Modern Life.
SpongeBob SquarePants
Creation
Some evidence shows that the idea for SpongeBob SquarePants dates back to 1986, during Hillenburg's time at the Orange County Marine Institute. He indicated that children's television series such as The New Adventures of Mighty Mouse (19871988) and Pee-wee's Playhouse (19861991) "sparked something in [him]." He continued, "I don't know if this is true for everybody else, but it always seems like, for me, I'll start thinking about something and it takes about ten years to actually have it happen, or have someone else believe in it... It took me a few years to get [SpongeBob SquarePants] together."
During the production of Rocko's Modern Life, Martin Olson, one of the writers, read The Intertidal Zone and encouraged Hillenburg to create a television series with a similar concept. At that point, he had not even considered creating his own series: "After watching Joe [Murray] tear his hair out a lot, dealing with all the problems that came up, I thought I would never want to produce a show of my own." However, he realized that if he ever did, this would be the best approach: "For all those years it seemed like I was doing these two totally separate things. I wondered what it all meant. I didn't see a synthesis. It was great when [my two interests] all came together in [a show]. I felt relieved that I hadn't wasted a lot of time doing something that I then abandoned to do something else. It has been pretty rewarding," Hillenburg said in 2002. He claimed that he finally decided to create a series as he was driving to the beach on the Santa Monica Freeway one day.
As he was developing the show's concept, Hillenburg remembered his teaching experience at the Orange County Marine Institute and how mesmerized children were by tide-pool animals, including crabs, octopuses, starfish, and sponges. It came to him that the series should take place underwater, with a focus on those creatures: "I wanted to create a small town underwater where the characters were more like us than like fish. They have fire. They take walks. They drive. They have pets and holidays." It suited what Hillenburg liked for a show, "something that was fantastic but believable." He also wanted his series to stand out from most popular cartoons of the time exemplified by buddy comedies such as The Ren & Stimpy Show (19911995). As a result, he decided to focus on one main character: the weirdest sea creature that he could think of. This led him to the sponge: "I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one." In 1994, Hillenburg began to further develop some characters from The Intertidal Zone, including Bob the Sponge.
Bob the Sponge is the comic's "announcer". He resembles an actual sea sponge, and at first Hillenburg continued this design because it "was the correct thing to do biologically as a marine-science teacher." In determining the new character's personality, he drew inspiration from innocent, childlike figures that he enjoyed, such as Charlie Chaplin, Laurel and Hardy, Jerry Lewis, Pee-wee Herman, Abbott and Costello, and The Three Stooges. He then considered modeling the character after a kitchen sponge, and realized that this idea would match the character's square personality perfectly: "[I]t looked so funny. I think as far as cartoon language goes he was easier to recognize. He seemed to fit the character type I was looking fora somewhat nerdy, squeaky clean oddball." To voice the central character of the series, Hillenburg turned to Tom Kenny, whose career in animation had begun with his on Rocko's Modern Life. Elements of Kenny's own personality were employed in further developing the character.
While pitching the cartoon to executives at Nickelodeon, Hillenburg donned a Hawaiian shirt, brought along an "underwater terrarium with models of the characters", and played Hawaiian music to set the theme. Nickelodeon executive Eric Coleman described the setup as "pretty amazing". Although Derek Drymon, creative director of SpongeBob SquarePants, described the pitch as stressful, he said it went "very well". Nickelodeon approved and gave Hillenburg money to produce the show.
Broadcast
SpongeBob SquarePants was Nickelodeon's first original Saturday-morning cartoon. It first aired as a preview on May 1, 1999, and officially premiered on July 17 of the same year. Hillenburg noted that the show's premise "is that innocence prevailswhich I don't think it always does in real life." It has received positive reviews from critics, and has been noted for its appeal to different age groups. James Poniewozik of Time magazine described the titular character as "the anti-Bart Simpson, temperamentally and physically: his head is as squared-off and neat as Bart's is unruly, and he has a personality to matchconscientious, optimistic and blind to the faults in the world and those around him." On the other hand, The New York Times critic Joyce Millman said that the show "is clever without being impenetrable to young viewers and goofy without boring grown-ups to tears. It's the most charming toon on television, and one of the weirdest. ...Like Pee-wee's Playhouse, SpongeBob joyfully dances on the fine line between childhood and adulthood, guilelessness and camp, the warped and the sweet."
SpongeBob SquarePants was an immediate hit. Within its first month on air, it overtook Pokémon (1997) as the highest-rated Saturday morning children's series. By the end of 2001, the show boasted the highest ratings of any children's series on television. Nickelodeon began adding SpongeBob SquarePants to its Monday-through-Thursday prime-time block. This programming change increased the number of older viewers significantly. By May 2002, the show's total viewership reached more than 61 million, 20 million of which were aged 18 to 49. Hillenburg did not expect the show would be very popular even to adults: "I never imagined that it would get to this point. When you set out to do a show about a sponge, you can't anticipate this kind of craze. We just try to make ourselves laugh, then ask if it's appropriate for children. I can tell you that we hoped it would be liked by adults. But we really thought the best we could hope for was a college audience." SpongeBob SquarePants has gone on to become one of the longest-running series on Nickelodeon. "Ten years. I never imagined working on the show to this date and this long. It never was possible to conceive that. ...I really figured we might get a season and a cult following, and that might be it," Hillenburg said in 2009 during the show's tenth anniversary. Its popularity has made it a media franchise, which is the most-distributed property of MTV Networks. , it has generated $12 billion in merchandising revenue.
Departure
In 2002, Hillenburg halted production of the show after the third season was completed to focus on the making of The SpongeBob SquarePants Movie which was released in 2004: "I don't want to try and do a movie and the series at the same time. We have 60 episodes and that is probably as many as [Nickelodeon] really needs. It is a standard number for a show like this. I have done a little research and people say it is just crazy doing a series and movie at the same time. I would rather concentrate on doing a good job on the movie," he noted. He directed the film from a story that he conceived with five other writer-animators from the series: Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne, and Tim Hill. The writers created a mythical hero's quest: the search for a stolen crown, which brings SpongeBob and his best friend Patrick to the surface. In 2003, during the production of The SpongeBob SquarePants Movie, his mentor Jules Engel died at the age of 94. Hillenburg dedicated the film to his memory. He said that Engel "truly was the most influential artistic person in [his] life." The SpongeBob SquarePants Movie grossed $140 million worldwide, and received positive reviews from critics. The review-aggregator website Rotten Tomatoes rates it 68 percent positive based on 125 reviews, with an average rating of 6.2/10. Its consensus states in summary, "Surreally goofy and entertaining for both children and their parents."
After completing the film, Hillenburg wanted to end the series "so [it] wouldn't jump the shark." "We're working on episodes 40 through 60 right now, and I always looked at that as a typical run for an animated show. [The Ren & Stimpy Show] lasted about that long, for example. And I thought now was a good time to step aside and look at a different project. I personally think it's good not to go to the point where people don't want to see your show anymore," Hillenburg said in 2002. However, Nickelodeon wanted to produce more episodes: "The show was such a cash cow for the station that it couldn't afford not to," storyboard director Sam Henderson observed. Initially Hillenburg doubted that the network would continue the show without him, saying: "I think [Nickelodeon executives] respect that my contribution is important. I think they would want to maintain the original concept and quality." Consequently, he resigned as the showrunner and appointed his trusted staff member Paul Tibbitt to the role. Although he no longer had a direct involvement producing SpongeBob SquarePants, he retained his position as an executive producer and maintained an advisory role, reviewing each episode. Tibbitt started out as a supervising producer but rose up to executive producer when Hillenburg went into semi-retirement in 2004. While he was on the show, he voiced Potty the Parrot and sat in with Derek Drymon at the record studio to direct the voice actors while they were recording. During the fourth season, Tibbitt took on voicing for Potty, while Andrea Romano replaced the two as the voice director.
In 2014, Tibbitt announced on his Twitter account that Hillenburg would return to the show. However, he did not specify what position the former showrunner would hold. As early as 2012, Hillenburg had already been contributing to another film based on the series, which was first reported in 2011 and officially announced the following year, with Tibbitt as director. Tibbitt also wrote the story with Hillenburg, who "[had] been in the studio everyday working with [the crew]." Besides writing, Hillenburg also executive-produced. He said in 2014: "Actually when [the film] wraps, I want to get back to the show. ...it is getting harder and harder to come up with stories. So Paul [Tibbitt] and I are really going to brainstorm and come up with fresh material." Called The SpongeBob Movie: Sponge Out of Water, the second film adaptation was released in 2015 to positive critical reception, currently holding a Rotten Tomatoes approval rating of 80 percent and an average rating of 6.5/10. It earned $323.4 million worldwide, becoming the second highest-grossing film based on an animated television show, behind The Simpsons Movie (2007).
Other pursuits
In 1998, Hillenburg formed United Plankton Pictures Inc., a television and film production company, which produces SpongeBob SquarePants and related media. From 2011 to 2018, the company published SpongeBob Comics, a comic-book series based on the cartoon. Hillenburg announced the venture in a 2011 press release, where he said, "I'm hoping that fans will enjoy finally having a SpongeBob comic book from me." Various cartoonists, including James Kochalka, Hilary Barta, Graham Annable, Gregg Schigiel, and Jacob Chabot, have contributed to issues of the comic.
According to Jeff Lenburg, in his book Who's Who in Animated Cartoons, Hillenburg was co-writing and co-directing a second animated feature film based on Rob Zombie's comic-book series, The Haunted World of El Superbeasto, which was slated for a 2006 release. He helped to write Diggs Tailwagger, a 2007 pilot by Derek Drymon. Hillenburg stated in 2009 that he was developing two other television projects that he did not want to discuss.
In 2010, he began working on Hollywood Blvd., USA, a new short film for animation festivals. In making the two-minute film, he videotaped people walking and animated them in walk cycles. Hillenburg said in 2012, "I hope to get [the film] done. It takes forever." He was aiming to finish it that fall. In 2013, three years after production began, Hollywood Blvd., USA was released to festivals. Hillenburg characterized it as a "personal film" and said that "it's not a narrative. It's just really about people in our town."
Personal life
Hillenburg married Karen Umland, a Southern Californian chef who teaches at the New School of Cooking in Culver City, in 1998. Hillenburg deemed her to be the funniest person that he knew, and the character of Karen Plankton was named after her. Also in 1998, the couple's first and only child, son Clay, was born. Hillenburg formerly resided in Hollywood and in Pasadena, and he lived with his family in San Marino, California, until his death. His hobbies included surfing, snorkeling, scuba diving, swimming, and performing "noisy rock music" on his guitar. He jammed with his son, who is a drummer, which Hillenburg called "a great way to bond with each other." He also enjoyed birdwatching at home, but said that he was always "an ocean freak".
He was known informally as "Steve" among his family, friends, and fans. According to his colleagues, Hillenburg was "a perfectionist workaholic". He was also known for his private nature. Julia Pistor, co-producer of The SpongeBob SquarePants Movie, noted that Hillenburg was "very shy". She went on to say, "He doesn't want people to know about his life or family. He's just a really funny, down-to-earth guy with a dry sense of humor who puts his family first and keeps us on our toes in keeping our corporate integrity." Hillenburg said about himself, "I make animation because I like to draw and create things. I have no real interest to be on camera or to be a celebrity. It's not that I don't like people, but I like having my privacy."
Philanthropy
Hillenburg, with his wife Karen, had endowed numerous projects and organizations through the United Plankton Charitable Trust, which the couple established in 2005. The foundation, the name of which was adopted from Hillenburg's United Plankton Pictures, supports areas of the two's personal interest, giving under $500,000 annually . Grantees include large, established arts-related organizations such as the Los Angeles County Museum of Art and the Society for the Activation of Social Space through Art and Sound, in which Karen is co-chair. Health accounts for most of their grantmaking; they had gifted to Planned Parenthood (where Karen is member of the board of directors ) and the National Multiple Sclerosis Society, among other national health organizations.
In education, they donated to schools, including the Polytechnic School in Pasadena (which their son attended), CalArts, and Humboldt State University. Donations to the latter helped fund the HSU Marine Lab and the Stephen Hillenburg Marine Science Research Award Endowment, which the couple created in 2018 to support the university's marine-science research students. The previous year, the Princess Grace Foundation introduced the Stephen Hillenburg Animation Scholarship, an annual grant from the Hillenburgs to emerging animators.
Illness, death and legacy
Hillenburg disclosed to Variety magazine in March 2017 that he had been diagnosed with amyotrophic lateral sclerosis (ALS), a fatal neurodegenerative disease that affects the motor neurons in the brain and spinal cord. He released a statement to the publication, in which he said that he would continue to work on SpongeBob SquarePants "for as long as [he is] able." He added: "My family and I are grateful for the outpouring of love and support. We ask that our sincere request for privacy be honored during this time." Hillenburg was in the early stages of the disease at the time, according to a source close to him. During his last days as executive producer, he had difficulty speaking, and it came to the point where he eventually stopped coming to the office.
Hillenburg died at his home on November 26, 2018, at the age of 57, due to the complications. According to his death certificate, his body was cremated and his ashes were scattered in the Pacific Ocean at least off the coast of California the next day.
During the halftime show for Super Bowl LIII, the performing band Maroon 5 arranged to use a clip from the SpongeBob episode "Band Geeks" (which uses the song "Sweet Victory" as part of a spoof of a football halftime show) during their show as a means to pay tribute to Hillenburg. A full clip of the "Sweet Victory" song, including a dedication to Hillenburg, was played inside Mercedes-Benz Stadium, but not during the game, which angered many fans. The song was later included in a promo for ViacomCBS' Paramount+ streaming service during Super Bowl LV.
The TV special SpongeBob's Big Birthday Blowout and the theatrical film The SpongeBob Movie: Sponge on the Run are dedicated to him and his career.
In 2019, a spin-off of SpongeBob SquarePants began production, featuring younger versions of the characters attending summer camp. Former showrunner Paul Tibbitt stated that Hillenburg would have disliked the idea; he commented, "Steve [Hillenburg] would always say to me, 'You know, one of these days, they're going to want to make SpongeBob Babies. That's when I'm out of here.'" Tibbitt also released a statement stating, "I do not mean any disrespect to my colleagues who are working on this show ... [but] they all know full well Steve would have hated this." The concept of Kamp Koral came from a season 12 meeting in October 2018, a month before Hillenburg died. Hillenburg is credited as the creator of Kamp Koral, and is credited on other spin-offs as the characters' creator.
Awards and honors
In 1992, one of Hillenburg's early works, Wormholes, won for Best Concept at the Ottawa International Animation Festival. For SpongeBob SquarePants, Hillenburg was nominated for 17 Emmy Awards, winning in the categories of Outstanding Special Class Animated Program and Outstanding Sound Editing – Animation in 2010 and 2014, respectively. The show has also received several other awards and nominations, including 17 Annie Award nominations, winning six times, as well as winning two British Academy Children's Awards, out of four nominations. In 2002, SpongeBob SquarePants won its first TCA Award for Outstanding Achievement in Children's Programming nomination.
In 2001, Heal the Bay, an environmental nonprofit organization, honored Hillenburg with its Walk the Talk award. He was recognized for raising public awareness of marine life through SpongeBob SquarePants. The following year, Hillenburg was given the Television Animation Award from the National Cartoonists Society, and the Princess Grace Statue Award from the Princess Grace Foundation. In 2018, Hillenburg received the Winsor McCay Award at the 45th Annie Awards, and a special recognition at the 45th Daytime Emmy Awards "for his contribution and impact made in the animation field and within the broadcast industry."
The marine demosponge species Clathria hillenburgi, known from mangrove habitats off the coast of Paraíba, Brazil, was named in honor of Stephen Hillenburg.
On November 18, 2021, Hillenburg was honored with a bench and historical plaque at his alma mater Savannah High School in Anaheim, California. The project was a collaboration between the Hillenburg family, Anaheim Historical Society, and YouTube personality Griffin Hansen. Karen Hillenburg specifically chose a bright yellow bench that "she thought perfectly captured her husband's warmth and goofiness". The memorial was dedicated one day before Savanna High School's 60th anniversary at a school-wide assembly hosted by Hansen and principal Michael Pooley. The event was attended by Karen and Clay Hillenburg, as well as members of Spongebob Squarepants' cast and crew including Tom Kenny, Jill Talley, Rodger Bumpass, Bill Fagerbakke, Clancy Brown, Mr. Lawrence, Marc Ceccarelli, and Derek Drymon.
Filmography
Film
Television
References
Further reading
External links
Stephen Hillenburg at the Nickelodeon Animation Studio website
1961 births
2018 deaths
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| true |
[
"Donald Mark Sibley (born ) is a retired American basketball player. He was a 6'2\" 175 lb guard and attended Northwestern University. He was selected in the fourth round of the 1973 NBA Draft by the Chicago Bulls but was waived prior to the start of the 1973-74 season. He was the only rookie of 17 in Bulls camp to have graduated from college. He played one year for the Portland Trail Blazers, followed by one year of basketball for a team in Brugges, Belgium. He returned to Northwestern University to earn a Master of Arts in Teaching degree which led to a 33-year career of teaching English and coaching basketball and soccer at York High School in Elmhurst.\n\nNotes\n\nExternal links\nNBA stats @ basketballreference.com\n\n1950 births\nLiving people\nBasketball players from Illinois\nChicago Bulls draft picks\nNorthwestern Wildcats men's basketball players\nPoint guards\nPortland Trail Blazers players\nAmerican men's basketball players",
"Howard B. Tinberg (born March 6, 1953) is professor of English at Bristol Community College, Fall River, Massachusetts, United States.\n\nTeacher\nTinberg teaches composition and literature, and encourages ethnographic research by his students into literacy among their families and communities.\n\nAwards\nHe was awarded the title Outstanding Community College Professor of 2004 by the Carnegie Foundation.\n\nHe is a former Chair of the Conference on College Composition and Communication, the premier, national organization for teachers of college writing.\n\nHe was selected as Museum Teaching Fellow at the US Holocaust Memorial Museum.\n\nHe is a recipient of the Nell Ann Picket award for service to the two-year college.\n\nHis essay, “Reconsidering Transfer at the Community College: Challenges and Opportunities,” received the Mark Reynolds award for best article of the year in the journal, “Teaching English in the Two-Year College.”\n\nEditor\nHe is a former editor of the journal Teaching English in the Two-Year College.\n\nAuthor\nHe has authored Writing With Consequence: What Writing Does in the Disciplines, and Border Talk: Writing and Knowing in the Two-Year College. He has co-authored or co-edited, “The Community College Writer: Exceeding Expectations,” “What is College-Level Writing, Vols, 1 and 2,” “Teaching Learning and the Holocaust,” and “Deep Reading: Teaching Reading in the Writing Classroom.”\n\nReferences\n 2004 Professor of the Year\n Bristol Community College\n\n1953 births\nLiving people\nPeople from Fall River, Massachusetts\nAmerican academics of English literature"
] |
[
"Stephen Hillenburg",
"Early career",
"What did he start his career in?",
"park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children.",
"What subject did he teach when he became a teacher?",
"marine-biology teacher",
"Did he teach any other subjects alone the years?",
"tide-pool ecology, nautical history, diversity and adaptation.",
"Between those years did he come up with Sponge bob?",
"I don't know.",
"What year was he teaching or start?",
"1984,"
] |
C_6201d5b174b24dec99fc9ee08806de24_1
|
What was the name of the school he was teaching at?
| 6 |
What was the name of the school Stephen Hillenburg was teaching at?
|
Stephen Hillenburg
|
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California that is dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession. While working there, he was asked by one of the educational directors if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters--including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but was turned down by the publishers that he approached. At one point during his tenure with the Orange County Marine Institute, Hillenburg started going to animation festivals such as the International Tournee of Animation and Spike and Mike's Festival of Animation where, at one of those, films made by California Institute of the Arts (colloquially called CalArts) students were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator. In 1989, Hillenburg enrolled in the Experimental Animation Program at CalArts. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considers his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. CANNOTANSWER
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Orange County Marine Institute
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Stephen McDannell Hillenburg (August 21, 1961 – November 26, 2018) was an American animator, writer, producer, and marine science educator. Hillenburg created the Nickelodeon animated television series SpongeBob SquarePants, on which he served as the showrunner for the first three seasons of the show, and has become the fifth-longest-running American animated series.
Born in Lawton, Oklahoma, and raised in Anaheim, California, Hillenburg became fascinated with the ocean as a child and developed an interest in art. He started his professional career in 1984, instructing marine biology, at the Orange County Marine Institute, where he wrote The Intertidal Zone, an informative picture book about tide-pool animals, which he used to educate his students. In 1989, two years after leaving teaching, Hillenburg enrolled at the California Institute of the Arts to pursue a career in animation. He was later offered a job on the Nickelodeon animated television series Rocko's Modern Life (19931996) after his success with The Green Beret and Wormholes (both 1992), short films that he made while studying animation.
In 1994, Hillenburg began developing The Intertidal Zone characters and concepts for what became SpongeBob SquarePants. The show has aired continuously since its premiere in 1999. He also directed The SpongeBob SquarePants Movie (2004), which he originally intended to be the series finale. Hillenburg resigned as showrunner, but Nickelodeon continued to produce more episodes after he departed the series. He resumed making short films, with Hollywood Blvd., USA in 2013, but continued to be credited as an executive producer for SpongeBob SquarePants. Hillenburg co-wrote the story for the second film adaptation of the series, The SpongeBob Movie: Sponge Out of Water, which was released in 2015.
Besides his two Emmy Awards and six Annie Awards for SpongeBob SquarePants, Hillenburg also received other recognition, such as an accolade from Heal the Bay for his efforts on elevating marine life awareness, and the Television Animation Award from the National Cartoonists Society. Hillenburg announced he was diagnosed with amyotrophic lateral sclerosis (ALS) in 2017, but stated he would continue to work on SpongeBob SquarePants as long as possible. He died on November 26, 2018, at the age of 57.
Early life and education
Stephen McDannell Hillenburg was born on August21, 1961 at Fort Sill, a United States Army post in Lawton, Oklahoma, where his father, Kelly N. Hillenburg Jr., worked for the U.S. military. His mother, Nancy (née Dufour), taught visually impaired students. When he was a year old, the family moved to Orange County, California, where his father began a career as a draftsman and designer in the aerospace industry. His younger brother, Bryan, eventually became a draftsman/designer as well.
When an interviewer asked Hillenburg to describe himself as a child, he replied that he was "probably well-meaning and naive like all kids." His passion for sea life can be traced to his childhood, when films by French oceanographer Jacques Cousteau made a strong impression on him. Hillenburg said that Cousteau "provided a view into that world", which he had not known existed. He liked to explore tide pools as a child, bringing home objects that "should have been left there and that ended up dying and smelling really bad."
Hillenburg also developed his interest in art at a young age. His first drawing was of an orange slice. An illustration which he drew in third grade, depicting "a bunch of army men... kissing and hugging instead of fighting", brought him the first praise for his artwork, when his teacher commended it. "Of course, this is 1970... She liked it because, I mean, obviously that was in the middle of [the Vietnam War]. She was, I would imagine, not a hundred percent for the war like a lot of people then. ...I had no idea about the implications, really, because I just thought it was a funny idea. I remember that still, that moment when she said, 'oh my gosh, look at that'", Hillenburg elaborated. It was then when he knew he "had some [creative] skill". He asserted that his artistry came from his mother's side, despite his father being a draftsman, noting that his maternal grandmother was "really, really gifted" and a "great painter". In the 1970s, someone took Hillenburg to the International Tournée of Animation at the Los Angeles County Museum of Art. He was "knocked out" by the foreign animated films, including Dutch animator Paul Driessen's The Killing of an Egg (1977). "That was the film that I thought was uniquely strange and that lodged itself in my head early on," he recounted.
He attended Savanna High School in Anaheim, describing himself as a "band geek" who played the trumpet. At age 15, he snorkeled for the first time; Hillenburg took part in a "dive program" at Woods Coves in Laguna Beach, as part of the Regional Occupational Program at Savanna. This experience, as well as subsequent dives, reinforced his interest in, and led to his decision to study, marine biology in college: "The switch clicked and I decided I wanted to be a marine biologist, but I also liked being an artist." Some of his high-school teachers, who knew of his interest in art and fascination with the ocean, advised him otherwise, saying: "You should just draw fish." However, the idea of drawing fish seemed boring to him and he was more riveted by "making weird, little paintings". During a few summers after finishing high school, he worked as a fry cook and lobster boiler at a fast-food seafood restaurant in Maine. (This later inspired SpongeBob SquarePants' occupation in the television series, which he would begin developing in 1994.)
Hillenburg went to Humboldt State University in Arcata, California as a marine-science major. He minored in art, and claimed that "[he] blossomed as a painter in Humboldt." In 1984, he earned his bachelor's degree in natural-resource planning and interpretation, with an emphasis on marine resources. He intended to take a master's degree, but said it would be in art: "Initially I think I assumed that if I went to school for art I would never have any way of making a living, so I thought it might be smarter to keep art my passion and hobby and study something else. But by the time I got to the end of my undergrad work, I realized I should be in art."
Early career
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California, dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession.
While working there, one of the educational directors asked him if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters—including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but the publishers he approached turned him down.
During this time, Hillenburg also started going to animation festivals such as the International Tournée of Animation and Spike and Mike's Festival of Animation where films made by students from the California Institute of the Arts (colloquially called CalArts) were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.
Hillenburg enrolled in CalArts' Experimental Animation Program in 1989. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considered his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. During his time at CalArts, he briefly drew comics for the surfing magazine KEMA in 1990.
Animation career
Early works
Hillenburg made his first animated works, short films The Green Beret (1991) and Wormholes (1992), while at CalArts. The Green Beret was about a physically challenged Girl Scout with enormous fists who toppled houses and destroyed neighborhoods while trying to sell Girl Scout cookies. Wormholes was his seven-minute thesis film, about the theory of relativity. He described the latter as "a poetic animated film based on relativistic phenomena" in his grant proposal in 1991 to the Princess Grace Foundation, which assists emerging artists in American theater, dance, and film. The foundation agreed to fund the effort, providing Hillenburg with a Graduate Film Scholarship. "It meant a lot. They funded one of the projects I'm most proud of, even with SpongeBob. It provided me the opportunity just to make a film that was personal, and what I would call independent, and free of some of the commercial needs," he said in 2003. Wormholes was shown at several international animation festivals, including: the Annecy International Animated Film Festival; the Hiroshima International Animation Festival; the Los Angeles International Animation Celebration; the International Short Film Festival Oberhausen; and the Ottawa International Animation Festival, where it won Best Concept. LA Weekly labeled the film "road-trippy" and "Zap-comical", while Manohla Dargis of The New York Times opined that it was inventive.
Hillenburg explained that "anything goes" in experimental animation. Although this allowed him to explore alternatives to conventional methods of filmmaking, he still ventured to employ "an industry style"; he preferred to traditionally animate his films (where each frame is drawn by hand) rather than, for instance, make cartoons "out of sand by filming piles of sand changing". Hillenburg had at least one other short film that he made as an animation student but its title is unspecified.
Rocko's Modern Life
Hillenburg's first professional job in the animation business was as a director on Rocko's Modern Life (19931996), Nickelodeon's first in-house cartoon production. He "ended up finding work in the industry and got a job" at the television network after he met the show's creator, Joe Murray, at the 1992 Ottawa International Animation Festival, where Wormholes and Murray's My Dog Zero were both in competition. Murray, who was looking for people to direct Rocko's Modern Life at the time, saw Hillenburg's film and offered him a directorial role on the television series. He "[had] friends that [gave him] a hard time about [the offer]. ... but doors opened when [he] stepped into the animation world," so he accepted it. He "was planning on being a starving artist": "[I spent] several thousand dollars to make a film and [realized] I may not make it backI had loans out. Fortunately, Joe Murray saw my film... and he took a huge chance," Hillenburg related.
Hillenburg worked closely with Murray on Rocko's Modern Life for its whole run on the air. Aside from directing, he also produced, wrote and storyboarded for some episodes, and served as the executive story editor. In 1995, during the show's fourth and final season, he was promoted to creative director, where he helped oversee pre- and post-production. Working on the series enabled him to repay his loans. He later related that he "learned a great deal about writing and producing animation for TV" from his stint on Rocko's Modern Life.
SpongeBob SquarePants
Creation
Some evidence shows that the idea for SpongeBob SquarePants dates back to 1986, during Hillenburg's time at the Orange County Marine Institute. He indicated that children's television series such as The New Adventures of Mighty Mouse (19871988) and Pee-wee's Playhouse (19861991) "sparked something in [him]." He continued, "I don't know if this is true for everybody else, but it always seems like, for me, I'll start thinking about something and it takes about ten years to actually have it happen, or have someone else believe in it... It took me a few years to get [SpongeBob SquarePants] together."
During the production of Rocko's Modern Life, Martin Olson, one of the writers, read The Intertidal Zone and encouraged Hillenburg to create a television series with a similar concept. At that point, he had not even considered creating his own series: "After watching Joe [Murray] tear his hair out a lot, dealing with all the problems that came up, I thought I would never want to produce a show of my own." However, he realized that if he ever did, this would be the best approach: "For all those years it seemed like I was doing these two totally separate things. I wondered what it all meant. I didn't see a synthesis. It was great when [my two interests] all came together in [a show]. I felt relieved that I hadn't wasted a lot of time doing something that I then abandoned to do something else. It has been pretty rewarding," Hillenburg said in 2002. He claimed that he finally decided to create a series as he was driving to the beach on the Santa Monica Freeway one day.
As he was developing the show's concept, Hillenburg remembered his teaching experience at the Orange County Marine Institute and how mesmerized children were by tide-pool animals, including crabs, octopuses, starfish, and sponges. It came to him that the series should take place underwater, with a focus on those creatures: "I wanted to create a small town underwater where the characters were more like us than like fish. They have fire. They take walks. They drive. They have pets and holidays." It suited what Hillenburg liked for a show, "something that was fantastic but believable." He also wanted his series to stand out from most popular cartoons of the time exemplified by buddy comedies such as The Ren & Stimpy Show (19911995). As a result, he decided to focus on one main character: the weirdest sea creature that he could think of. This led him to the sponge: "I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one." In 1994, Hillenburg began to further develop some characters from The Intertidal Zone, including Bob the Sponge.
Bob the Sponge is the comic's "announcer". He resembles an actual sea sponge, and at first Hillenburg continued this design because it "was the correct thing to do biologically as a marine-science teacher." In determining the new character's personality, he drew inspiration from innocent, childlike figures that he enjoyed, such as Charlie Chaplin, Laurel and Hardy, Jerry Lewis, Pee-wee Herman, Abbott and Costello, and The Three Stooges. He then considered modeling the character after a kitchen sponge, and realized that this idea would match the character's square personality perfectly: "[I]t looked so funny. I think as far as cartoon language goes he was easier to recognize. He seemed to fit the character type I was looking fora somewhat nerdy, squeaky clean oddball." To voice the central character of the series, Hillenburg turned to Tom Kenny, whose career in animation had begun with his on Rocko's Modern Life. Elements of Kenny's own personality were employed in further developing the character.
While pitching the cartoon to executives at Nickelodeon, Hillenburg donned a Hawaiian shirt, brought along an "underwater terrarium with models of the characters", and played Hawaiian music to set the theme. Nickelodeon executive Eric Coleman described the setup as "pretty amazing". Although Derek Drymon, creative director of SpongeBob SquarePants, described the pitch as stressful, he said it went "very well". Nickelodeon approved and gave Hillenburg money to produce the show.
Broadcast
SpongeBob SquarePants was Nickelodeon's first original Saturday-morning cartoon. It first aired as a preview on May 1, 1999, and officially premiered on July 17 of the same year. Hillenburg noted that the show's premise "is that innocence prevailswhich I don't think it always does in real life." It has received positive reviews from critics, and has been noted for its appeal to different age groups. James Poniewozik of Time magazine described the titular character as "the anti-Bart Simpson, temperamentally and physically: his head is as squared-off and neat as Bart's is unruly, and he has a personality to matchconscientious, optimistic and blind to the faults in the world and those around him." On the other hand, The New York Times critic Joyce Millman said that the show "is clever without being impenetrable to young viewers and goofy without boring grown-ups to tears. It's the most charming toon on television, and one of the weirdest. ...Like Pee-wee's Playhouse, SpongeBob joyfully dances on the fine line between childhood and adulthood, guilelessness and camp, the warped and the sweet."
SpongeBob SquarePants was an immediate hit. Within its first month on air, it overtook Pokémon (1997) as the highest-rated Saturday morning children's series. By the end of 2001, the show boasted the highest ratings of any children's series on television. Nickelodeon began adding SpongeBob SquarePants to its Monday-through-Thursday prime-time block. This programming change increased the number of older viewers significantly. By May 2002, the show's total viewership reached more than 61 million, 20 million of which were aged 18 to 49. Hillenburg did not expect the show would be very popular even to adults: "I never imagined that it would get to this point. When you set out to do a show about a sponge, you can't anticipate this kind of craze. We just try to make ourselves laugh, then ask if it's appropriate for children. I can tell you that we hoped it would be liked by adults. But we really thought the best we could hope for was a college audience." SpongeBob SquarePants has gone on to become one of the longest-running series on Nickelodeon. "Ten years. I never imagined working on the show to this date and this long. It never was possible to conceive that. ...I really figured we might get a season and a cult following, and that might be it," Hillenburg said in 2009 during the show's tenth anniversary. Its popularity has made it a media franchise, which is the most-distributed property of MTV Networks. , it has generated $12 billion in merchandising revenue.
Departure
In 2002, Hillenburg halted production of the show after the third season was completed to focus on the making of The SpongeBob SquarePants Movie which was released in 2004: "I don't want to try and do a movie and the series at the same time. We have 60 episodes and that is probably as many as [Nickelodeon] really needs. It is a standard number for a show like this. I have done a little research and people say it is just crazy doing a series and movie at the same time. I would rather concentrate on doing a good job on the movie," he noted. He directed the film from a story that he conceived with five other writer-animators from the series: Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne, and Tim Hill. The writers created a mythical hero's quest: the search for a stolen crown, which brings SpongeBob and his best friend Patrick to the surface. In 2003, during the production of The SpongeBob SquarePants Movie, his mentor Jules Engel died at the age of 94. Hillenburg dedicated the film to his memory. He said that Engel "truly was the most influential artistic person in [his] life." The SpongeBob SquarePants Movie grossed $140 million worldwide, and received positive reviews from critics. The review-aggregator website Rotten Tomatoes rates it 68 percent positive based on 125 reviews, with an average rating of 6.2/10. Its consensus states in summary, "Surreally goofy and entertaining for both children and their parents."
After completing the film, Hillenburg wanted to end the series "so [it] wouldn't jump the shark." "We're working on episodes 40 through 60 right now, and I always looked at that as a typical run for an animated show. [The Ren & Stimpy Show] lasted about that long, for example. And I thought now was a good time to step aside and look at a different project. I personally think it's good not to go to the point where people don't want to see your show anymore," Hillenburg said in 2002. However, Nickelodeon wanted to produce more episodes: "The show was such a cash cow for the station that it couldn't afford not to," storyboard director Sam Henderson observed. Initially Hillenburg doubted that the network would continue the show without him, saying: "I think [Nickelodeon executives] respect that my contribution is important. I think they would want to maintain the original concept and quality." Consequently, he resigned as the showrunner and appointed his trusted staff member Paul Tibbitt to the role. Although he no longer had a direct involvement producing SpongeBob SquarePants, he retained his position as an executive producer and maintained an advisory role, reviewing each episode. Tibbitt started out as a supervising producer but rose up to executive producer when Hillenburg went into semi-retirement in 2004. While he was on the show, he voiced Potty the Parrot and sat in with Derek Drymon at the record studio to direct the voice actors while they were recording. During the fourth season, Tibbitt took on voicing for Potty, while Andrea Romano replaced the two as the voice director.
In 2014, Tibbitt announced on his Twitter account that Hillenburg would return to the show. However, he did not specify what position the former showrunner would hold. As early as 2012, Hillenburg had already been contributing to another film based on the series, which was first reported in 2011 and officially announced the following year, with Tibbitt as director. Tibbitt also wrote the story with Hillenburg, who "[had] been in the studio everyday working with [the crew]." Besides writing, Hillenburg also executive-produced. He said in 2014: "Actually when [the film] wraps, I want to get back to the show. ...it is getting harder and harder to come up with stories. So Paul [Tibbitt] and I are really going to brainstorm and come up with fresh material." Called The SpongeBob Movie: Sponge Out of Water, the second film adaptation was released in 2015 to positive critical reception, currently holding a Rotten Tomatoes approval rating of 80 percent and an average rating of 6.5/10. It earned $323.4 million worldwide, becoming the second highest-grossing film based on an animated television show, behind The Simpsons Movie (2007).
Other pursuits
In 1998, Hillenburg formed United Plankton Pictures Inc., a television and film production company, which produces SpongeBob SquarePants and related media. From 2011 to 2018, the company published SpongeBob Comics, a comic-book series based on the cartoon. Hillenburg announced the venture in a 2011 press release, where he said, "I'm hoping that fans will enjoy finally having a SpongeBob comic book from me." Various cartoonists, including James Kochalka, Hilary Barta, Graham Annable, Gregg Schigiel, and Jacob Chabot, have contributed to issues of the comic.
According to Jeff Lenburg, in his book Who's Who in Animated Cartoons, Hillenburg was co-writing and co-directing a second animated feature film based on Rob Zombie's comic-book series, The Haunted World of El Superbeasto, which was slated for a 2006 release. He helped to write Diggs Tailwagger, a 2007 pilot by Derek Drymon. Hillenburg stated in 2009 that he was developing two other television projects that he did not want to discuss.
In 2010, he began working on Hollywood Blvd., USA, a new short film for animation festivals. In making the two-minute film, he videotaped people walking and animated them in walk cycles. Hillenburg said in 2012, "I hope to get [the film] done. It takes forever." He was aiming to finish it that fall. In 2013, three years after production began, Hollywood Blvd., USA was released to festivals. Hillenburg characterized it as a "personal film" and said that "it's not a narrative. It's just really about people in our town."
Personal life
Hillenburg married Karen Umland, a Southern Californian chef who teaches at the New School of Cooking in Culver City, in 1998. Hillenburg deemed her to be the funniest person that he knew, and the character of Karen Plankton was named after her. Also in 1998, the couple's first and only child, son Clay, was born. Hillenburg formerly resided in Hollywood and in Pasadena, and he lived with his family in San Marino, California, until his death. His hobbies included surfing, snorkeling, scuba diving, swimming, and performing "noisy rock music" on his guitar. He jammed with his son, who is a drummer, which Hillenburg called "a great way to bond with each other." He also enjoyed birdwatching at home, but said that he was always "an ocean freak".
He was known informally as "Steve" among his family, friends, and fans. According to his colleagues, Hillenburg was "a perfectionist workaholic". He was also known for his private nature. Julia Pistor, co-producer of The SpongeBob SquarePants Movie, noted that Hillenburg was "very shy". She went on to say, "He doesn't want people to know about his life or family. He's just a really funny, down-to-earth guy with a dry sense of humor who puts his family first and keeps us on our toes in keeping our corporate integrity." Hillenburg said about himself, "I make animation because I like to draw and create things. I have no real interest to be on camera or to be a celebrity. It's not that I don't like people, but I like having my privacy."
Philanthropy
Hillenburg, with his wife Karen, had endowed numerous projects and organizations through the United Plankton Charitable Trust, which the couple established in 2005. The foundation, the name of which was adopted from Hillenburg's United Plankton Pictures, supports areas of the two's personal interest, giving under $500,000 annually . Grantees include large, established arts-related organizations such as the Los Angeles County Museum of Art and the Society for the Activation of Social Space through Art and Sound, in which Karen is co-chair. Health accounts for most of their grantmaking; they had gifted to Planned Parenthood (where Karen is member of the board of directors ) and the National Multiple Sclerosis Society, among other national health organizations.
In education, they donated to schools, including the Polytechnic School in Pasadena (which their son attended), CalArts, and Humboldt State University. Donations to the latter helped fund the HSU Marine Lab and the Stephen Hillenburg Marine Science Research Award Endowment, which the couple created in 2018 to support the university's marine-science research students. The previous year, the Princess Grace Foundation introduced the Stephen Hillenburg Animation Scholarship, an annual grant from the Hillenburgs to emerging animators.
Illness, death and legacy
Hillenburg disclosed to Variety magazine in March 2017 that he had been diagnosed with amyotrophic lateral sclerosis (ALS), a fatal neurodegenerative disease that affects the motor neurons in the brain and spinal cord. He released a statement to the publication, in which he said that he would continue to work on SpongeBob SquarePants "for as long as [he is] able." He added: "My family and I are grateful for the outpouring of love and support. We ask that our sincere request for privacy be honored during this time." Hillenburg was in the early stages of the disease at the time, according to a source close to him. During his last days as executive producer, he had difficulty speaking, and it came to the point where he eventually stopped coming to the office.
Hillenburg died at his home on November 26, 2018, at the age of 57, due to the complications. According to his death certificate, his body was cremated and his ashes were scattered in the Pacific Ocean at least off the coast of California the next day.
During the halftime show for Super Bowl LIII, the performing band Maroon 5 arranged to use a clip from the SpongeBob episode "Band Geeks" (which uses the song "Sweet Victory" as part of a spoof of a football halftime show) during their show as a means to pay tribute to Hillenburg. A full clip of the "Sweet Victory" song, including a dedication to Hillenburg, was played inside Mercedes-Benz Stadium, but not during the game, which angered many fans. The song was later included in a promo for ViacomCBS' Paramount+ streaming service during Super Bowl LV.
The TV special SpongeBob's Big Birthday Blowout and the theatrical film The SpongeBob Movie: Sponge on the Run are dedicated to him and his career.
In 2019, a spin-off of SpongeBob SquarePants began production, featuring younger versions of the characters attending summer camp. Former showrunner Paul Tibbitt stated that Hillenburg would have disliked the idea; he commented, "Steve [Hillenburg] would always say to me, 'You know, one of these days, they're going to want to make SpongeBob Babies. That's when I'm out of here.'" Tibbitt also released a statement stating, "I do not mean any disrespect to my colleagues who are working on this show ... [but] they all know full well Steve would have hated this." The concept of Kamp Koral came from a season 12 meeting in October 2018, a month before Hillenburg died. Hillenburg is credited as the creator of Kamp Koral, and is credited on other spin-offs as the characters' creator.
Awards and honors
In 1992, one of Hillenburg's early works, Wormholes, won for Best Concept at the Ottawa International Animation Festival. For SpongeBob SquarePants, Hillenburg was nominated for 17 Emmy Awards, winning in the categories of Outstanding Special Class Animated Program and Outstanding Sound Editing – Animation in 2010 and 2014, respectively. The show has also received several other awards and nominations, including 17 Annie Award nominations, winning six times, as well as winning two British Academy Children's Awards, out of four nominations. In 2002, SpongeBob SquarePants won its first TCA Award for Outstanding Achievement in Children's Programming nomination.
In 2001, Heal the Bay, an environmental nonprofit organization, honored Hillenburg with its Walk the Talk award. He was recognized for raising public awareness of marine life through SpongeBob SquarePants. The following year, Hillenburg was given the Television Animation Award from the National Cartoonists Society, and the Princess Grace Statue Award from the Princess Grace Foundation. In 2018, Hillenburg received the Winsor McCay Award at the 45th Annie Awards, and a special recognition at the 45th Daytime Emmy Awards "for his contribution and impact made in the animation field and within the broadcast industry."
The marine demosponge species Clathria hillenburgi, known from mangrove habitats off the coast of Paraíba, Brazil, was named in honor of Stephen Hillenburg.
On November 18, 2021, Hillenburg was honored with a bench and historical plaque at his alma mater Savannah High School in Anaheim, California. The project was a collaboration between the Hillenburg family, Anaheim Historical Society, and YouTube personality Griffin Hansen. Karen Hillenburg specifically chose a bright yellow bench that "she thought perfectly captured her husband's warmth and goofiness". The memorial was dedicated one day before Savanna High School's 60th anniversary at a school-wide assembly hosted by Hansen and principal Michael Pooley. The event was attended by Karen and Clay Hillenburg, as well as members of Spongebob Squarepants' cast and crew including Tom Kenny, Jill Talley, Rodger Bumpass, Bill Fagerbakke, Clancy Brown, Mr. Lawrence, Marc Ceccarelli, and Derek Drymon.
Filmography
Film
Television
References
Further reading
External links
Stephen Hillenburg at the Nickelodeon Animation Studio website
1961 births
2018 deaths
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Screenwriters from California
Screenwriters from Oklahoma
Showrunners
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American people of Belgian descent
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| true |
[
"Professor Michael Waters (born 1949, Northamptonshire) was the Director of Curriculum at the (British) Qualifications and Curriculum Authority (QCA), based in London, from 2005-9. He was responsible for what British children are legally obliged to study at school via the National Curriculum.\n\nEarly life\nHis father was a plasterer and his mother was a school cook. He attended Magdalen College School, Brackley, then a grammar school. At school he was particularly good at cricket and wanted to become a professional cricketer. His careers advisor at school persuaded him to choose teaching as a career. He attended Sheffield City College of Education (the City of Sheffield Training College on Collegiate Crescent, now part of Sheffield Hallam University) for his teacher's certificate.\n\nCareer\n\nTeaching\nHe began as a primary school teacher in Nottingham. He was headmaster at two schools at Barrow-in-Furness and Kendal, then worked in teacher training at Charlotte Mason College, later part of Lancaster University, then the Ambleside campus of St Martin's College, then part of University of Cumbria, who closed the teacher training courses in 2008.\n\nLEAs\nHe worked at Birmingham LEA, then the (Labour-controlled) City of Manchester LEA at the end of 2002 where he was Chief Education Officer. Manchester LEA is in the bottom five for GCSE results in the country.\n\nQCA\nHe moved to the QCA in May 2005, leaving in 2009.\n\nHis role at the QCA was to give children a meaningful foundation of education, specifically to provide them with knowledge that will give them help in later life, and not just generic academic knowledge for the sake of it. This obligatory curriculum would prepare them for the future.\n\nIn September 2010, he described the English, Welsh and Northern Irish exams system (GCSE) as “diseased and almost corrupt” in the book Reinventing Schools, Reforming Teaching.\n\nPersonal life\nHe lives in Worcester in Worcestershire.\n\nReferences\n\nExternal links\n University of Wolverhampton\n General Teaching Council\n\nNews items\n Guardian September 2010\n Exams system in September 2010\n Manchester pupils 'win' £100 for not truanting in March 2004\n\nVideo clips\n Interview at Teachers.tv with Estelle Morris\n Inspiring learning at Teachers TV\n Speech at Scottish Learning Festival\n Department for Education\n\nBritish educational theorists\nPeople from Brackley\n1949 births\nAlumni of Sheffield Hallam University\nLiving people",
"Archibald Frank Nicoll (14 June 1886 – 1 February 1953) was a New Zealand artist and art teacher. His interpretation of the Canterbury landscape made him a leader in what has become known as the 'Canterbury School'.\n\nEarly life and education \nHe was born in Lincoln, Canterbury. He was the fifth of six children of Alexander Nicoll, a farmer, and his wife, Eliza Pannett. He attended Springston School from 1891 to 1899. He was awarded a scholarship to attend Christchurch Boys' High School and attended the school from 1900 to 1902.\n\nCareer \n\nAfter school he started working at the Union Steamship Company as a junior clerk. During this time he continued to draw and he enrolled in an evening class at the Canterbury College School of Art. In 1904 he became a member of the Canterbury Society of Arts and exhibited with them and the New Zealand Academy of Fine Arts in 1905. In 1907 he resigned from the Union Steamship Company and was appointed to a teaching position at Elam School of Art and Design in Auckland. In 1911 he moved to Edinburgh. He started studying at the Edinburgh College of Art as a mature student in 1912. One year later he was offered a teaching position at the Edinburgh College of Art. While based in Edinburgh he won a number of prizes which allowed him to travel to Europe. In 1914 he moved back to New Zealand arriving in September. He exhibited at the Canterbury Society of Arts in September of that year and in October he also presented a one-man show with over 200 of his works. With the First World War escalating a call for New Zealand men to enlist was sent out. On 9 December 1914 he enlisted with the New Zealand Expeditionary Force. He fought in the Second Battle of the Somme and was injured during the fighting. His injury resulted in the amputation of his right leg above the knee. He returned to Wellington in 1918 and took up a relief teaching position at the Wellington Technical College. In 1919 he was appointed the Director of the Canterbury College School of Art. He regularly exhibited with art societies beyond Christchurch and 1930 he exhibited for a second time at the Royal Academy, London. He resigned as director of Canterbury College School of Art to paint full-time in 1928. Without the responsibilities of teaching he painted a lot of portraits during this time. With the birth of his son in 1933 he decided to return to teaching and rejoined the staff of the Canterbury College School of Art in 1934. He remained there until his retirement in 1945. In the 1947 King's Birthday Honours, Nicoll was appointed an Officer of the Order of the British Empire for services to art.\n\nReferences\n\n1886 births\n1953 deaths\nNew Zealand art teachers\nNew Zealand artists\nNew Zealand Officers of the Order of the British Empire\nPeople from Lincoln, New Zealand\nPeople educated at Christchurch Boys' High School\nNew Zealand military personnel of World War I"
] |
[
"Stephen Hillenburg",
"Early career",
"What did he start his career in?",
"park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children.",
"What subject did he teach when he became a teacher?",
"marine-biology teacher",
"Did he teach any other subjects alone the years?",
"tide-pool ecology, nautical history, diversity and adaptation.",
"Between those years did he come up with Sponge bob?",
"I don't know.",
"What year was he teaching or start?",
"1984,",
"What was the name of the school he was teaching at?",
"Orange County Marine Institute"
] |
C_6201d5b174b24dec99fc9ee08806de24_1
|
What other jobs did he have in his early career?
| 7 |
Besides teacher, what jobs did Stephen Hillenburg have in his early career?
|
Stephen Hillenburg
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After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California that is dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession. While working there, he was asked by one of the educational directors if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters--including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but was turned down by the publishers that he approached. At one point during his tenure with the Orange County Marine Institute, Hillenburg started going to animation festivals such as the International Tournee of Animation and Spike and Mike's Festival of Animation where, at one of those, films made by California Institute of the Arts (colloquially called CalArts) students were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator. In 1989, Hillenburg enrolled in the Experimental Animation Program at CalArts. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considers his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. CANNOTANSWER
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He created a comic called The Intertidal Zone,
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Stephen McDannell Hillenburg (August 21, 1961 – November 26, 2018) was an American animator, writer, producer, and marine science educator. Hillenburg created the Nickelodeon animated television series SpongeBob SquarePants, on which he served as the showrunner for the first three seasons of the show, and has become the fifth-longest-running American animated series.
Born in Lawton, Oklahoma, and raised in Anaheim, California, Hillenburg became fascinated with the ocean as a child and developed an interest in art. He started his professional career in 1984, instructing marine biology, at the Orange County Marine Institute, where he wrote The Intertidal Zone, an informative picture book about tide-pool animals, which he used to educate his students. In 1989, two years after leaving teaching, Hillenburg enrolled at the California Institute of the Arts to pursue a career in animation. He was later offered a job on the Nickelodeon animated television series Rocko's Modern Life (19931996) after his success with The Green Beret and Wormholes (both 1992), short films that he made while studying animation.
In 1994, Hillenburg began developing The Intertidal Zone characters and concepts for what became SpongeBob SquarePants. The show has aired continuously since its premiere in 1999. He also directed The SpongeBob SquarePants Movie (2004), which he originally intended to be the series finale. Hillenburg resigned as showrunner, but Nickelodeon continued to produce more episodes after he departed the series. He resumed making short films, with Hollywood Blvd., USA in 2013, but continued to be credited as an executive producer for SpongeBob SquarePants. Hillenburg co-wrote the story for the second film adaptation of the series, The SpongeBob Movie: Sponge Out of Water, which was released in 2015.
Besides his two Emmy Awards and six Annie Awards for SpongeBob SquarePants, Hillenburg also received other recognition, such as an accolade from Heal the Bay for his efforts on elevating marine life awareness, and the Television Animation Award from the National Cartoonists Society. Hillenburg announced he was diagnosed with amyotrophic lateral sclerosis (ALS) in 2017, but stated he would continue to work on SpongeBob SquarePants as long as possible. He died on November 26, 2018, at the age of 57.
Early life and education
Stephen McDannell Hillenburg was born on August21, 1961 at Fort Sill, a United States Army post in Lawton, Oklahoma, where his father, Kelly N. Hillenburg Jr., worked for the U.S. military. His mother, Nancy (née Dufour), taught visually impaired students. When he was a year old, the family moved to Orange County, California, where his father began a career as a draftsman and designer in the aerospace industry. His younger brother, Bryan, eventually became a draftsman/designer as well.
When an interviewer asked Hillenburg to describe himself as a child, he replied that he was "probably well-meaning and naive like all kids." His passion for sea life can be traced to his childhood, when films by French oceanographer Jacques Cousteau made a strong impression on him. Hillenburg said that Cousteau "provided a view into that world", which he had not known existed. He liked to explore tide pools as a child, bringing home objects that "should have been left there and that ended up dying and smelling really bad."
Hillenburg also developed his interest in art at a young age. His first drawing was of an orange slice. An illustration which he drew in third grade, depicting "a bunch of army men... kissing and hugging instead of fighting", brought him the first praise for his artwork, when his teacher commended it. "Of course, this is 1970... She liked it because, I mean, obviously that was in the middle of [the Vietnam War]. She was, I would imagine, not a hundred percent for the war like a lot of people then. ...I had no idea about the implications, really, because I just thought it was a funny idea. I remember that still, that moment when she said, 'oh my gosh, look at that'", Hillenburg elaborated. It was then when he knew he "had some [creative] skill". He asserted that his artistry came from his mother's side, despite his father being a draftsman, noting that his maternal grandmother was "really, really gifted" and a "great painter". In the 1970s, someone took Hillenburg to the International Tournée of Animation at the Los Angeles County Museum of Art. He was "knocked out" by the foreign animated films, including Dutch animator Paul Driessen's The Killing of an Egg (1977). "That was the film that I thought was uniquely strange and that lodged itself in my head early on," he recounted.
He attended Savanna High School in Anaheim, describing himself as a "band geek" who played the trumpet. At age 15, he snorkeled for the first time; Hillenburg took part in a "dive program" at Woods Coves in Laguna Beach, as part of the Regional Occupational Program at Savanna. This experience, as well as subsequent dives, reinforced his interest in, and led to his decision to study, marine biology in college: "The switch clicked and I decided I wanted to be a marine biologist, but I also liked being an artist." Some of his high-school teachers, who knew of his interest in art and fascination with the ocean, advised him otherwise, saying: "You should just draw fish." However, the idea of drawing fish seemed boring to him and he was more riveted by "making weird, little paintings". During a few summers after finishing high school, he worked as a fry cook and lobster boiler at a fast-food seafood restaurant in Maine. (This later inspired SpongeBob SquarePants' occupation in the television series, which he would begin developing in 1994.)
Hillenburg went to Humboldt State University in Arcata, California as a marine-science major. He minored in art, and claimed that "[he] blossomed as a painter in Humboldt." In 1984, he earned his bachelor's degree in natural-resource planning and interpretation, with an emphasis on marine resources. He intended to take a master's degree, but said it would be in art: "Initially I think I assumed that if I went to school for art I would never have any way of making a living, so I thought it might be smarter to keep art my passion and hobby and study something else. But by the time I got to the end of my undergrad work, I realized I should be in art."
Early career
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California, dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession.
While working there, one of the educational directors asked him if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters—including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but the publishers he approached turned him down.
During this time, Hillenburg also started going to animation festivals such as the International Tournée of Animation and Spike and Mike's Festival of Animation where films made by students from the California Institute of the Arts (colloquially called CalArts) were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.
Hillenburg enrolled in CalArts' Experimental Animation Program in 1989. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considered his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. During his time at CalArts, he briefly drew comics for the surfing magazine KEMA in 1990.
Animation career
Early works
Hillenburg made his first animated works, short films The Green Beret (1991) and Wormholes (1992), while at CalArts. The Green Beret was about a physically challenged Girl Scout with enormous fists who toppled houses and destroyed neighborhoods while trying to sell Girl Scout cookies. Wormholes was his seven-minute thesis film, about the theory of relativity. He described the latter as "a poetic animated film based on relativistic phenomena" in his grant proposal in 1991 to the Princess Grace Foundation, which assists emerging artists in American theater, dance, and film. The foundation agreed to fund the effort, providing Hillenburg with a Graduate Film Scholarship. "It meant a lot. They funded one of the projects I'm most proud of, even with SpongeBob. It provided me the opportunity just to make a film that was personal, and what I would call independent, and free of some of the commercial needs," he said in 2003. Wormholes was shown at several international animation festivals, including: the Annecy International Animated Film Festival; the Hiroshima International Animation Festival; the Los Angeles International Animation Celebration; the International Short Film Festival Oberhausen; and the Ottawa International Animation Festival, where it won Best Concept. LA Weekly labeled the film "road-trippy" and "Zap-comical", while Manohla Dargis of The New York Times opined that it was inventive.
Hillenburg explained that "anything goes" in experimental animation. Although this allowed him to explore alternatives to conventional methods of filmmaking, he still ventured to employ "an industry style"; he preferred to traditionally animate his films (where each frame is drawn by hand) rather than, for instance, make cartoons "out of sand by filming piles of sand changing". Hillenburg had at least one other short film that he made as an animation student but its title is unspecified.
Rocko's Modern Life
Hillenburg's first professional job in the animation business was as a director on Rocko's Modern Life (19931996), Nickelodeon's first in-house cartoon production. He "ended up finding work in the industry and got a job" at the television network after he met the show's creator, Joe Murray, at the 1992 Ottawa International Animation Festival, where Wormholes and Murray's My Dog Zero were both in competition. Murray, who was looking for people to direct Rocko's Modern Life at the time, saw Hillenburg's film and offered him a directorial role on the television series. He "[had] friends that [gave him] a hard time about [the offer]. ... but doors opened when [he] stepped into the animation world," so he accepted it. He "was planning on being a starving artist": "[I spent] several thousand dollars to make a film and [realized] I may not make it backI had loans out. Fortunately, Joe Murray saw my film... and he took a huge chance," Hillenburg related.
Hillenburg worked closely with Murray on Rocko's Modern Life for its whole run on the air. Aside from directing, he also produced, wrote and storyboarded for some episodes, and served as the executive story editor. In 1995, during the show's fourth and final season, he was promoted to creative director, where he helped oversee pre- and post-production. Working on the series enabled him to repay his loans. He later related that he "learned a great deal about writing and producing animation for TV" from his stint on Rocko's Modern Life.
SpongeBob SquarePants
Creation
Some evidence shows that the idea for SpongeBob SquarePants dates back to 1986, during Hillenburg's time at the Orange County Marine Institute. He indicated that children's television series such as The New Adventures of Mighty Mouse (19871988) and Pee-wee's Playhouse (19861991) "sparked something in [him]." He continued, "I don't know if this is true for everybody else, but it always seems like, for me, I'll start thinking about something and it takes about ten years to actually have it happen, or have someone else believe in it... It took me a few years to get [SpongeBob SquarePants] together."
During the production of Rocko's Modern Life, Martin Olson, one of the writers, read The Intertidal Zone and encouraged Hillenburg to create a television series with a similar concept. At that point, he had not even considered creating his own series: "After watching Joe [Murray] tear his hair out a lot, dealing with all the problems that came up, I thought I would never want to produce a show of my own." However, he realized that if he ever did, this would be the best approach: "For all those years it seemed like I was doing these two totally separate things. I wondered what it all meant. I didn't see a synthesis. It was great when [my two interests] all came together in [a show]. I felt relieved that I hadn't wasted a lot of time doing something that I then abandoned to do something else. It has been pretty rewarding," Hillenburg said in 2002. He claimed that he finally decided to create a series as he was driving to the beach on the Santa Monica Freeway one day.
As he was developing the show's concept, Hillenburg remembered his teaching experience at the Orange County Marine Institute and how mesmerized children were by tide-pool animals, including crabs, octopuses, starfish, and sponges. It came to him that the series should take place underwater, with a focus on those creatures: "I wanted to create a small town underwater where the characters were more like us than like fish. They have fire. They take walks. They drive. They have pets and holidays." It suited what Hillenburg liked for a show, "something that was fantastic but believable." He also wanted his series to stand out from most popular cartoons of the time exemplified by buddy comedies such as The Ren & Stimpy Show (19911995). As a result, he decided to focus on one main character: the weirdest sea creature that he could think of. This led him to the sponge: "I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one." In 1994, Hillenburg began to further develop some characters from The Intertidal Zone, including Bob the Sponge.
Bob the Sponge is the comic's "announcer". He resembles an actual sea sponge, and at first Hillenburg continued this design because it "was the correct thing to do biologically as a marine-science teacher." In determining the new character's personality, he drew inspiration from innocent, childlike figures that he enjoyed, such as Charlie Chaplin, Laurel and Hardy, Jerry Lewis, Pee-wee Herman, Abbott and Costello, and The Three Stooges. He then considered modeling the character after a kitchen sponge, and realized that this idea would match the character's square personality perfectly: "[I]t looked so funny. I think as far as cartoon language goes he was easier to recognize. He seemed to fit the character type I was looking fora somewhat nerdy, squeaky clean oddball." To voice the central character of the series, Hillenburg turned to Tom Kenny, whose career in animation had begun with his on Rocko's Modern Life. Elements of Kenny's own personality were employed in further developing the character.
While pitching the cartoon to executives at Nickelodeon, Hillenburg donned a Hawaiian shirt, brought along an "underwater terrarium with models of the characters", and played Hawaiian music to set the theme. Nickelodeon executive Eric Coleman described the setup as "pretty amazing". Although Derek Drymon, creative director of SpongeBob SquarePants, described the pitch as stressful, he said it went "very well". Nickelodeon approved and gave Hillenburg money to produce the show.
Broadcast
SpongeBob SquarePants was Nickelodeon's first original Saturday-morning cartoon. It first aired as a preview on May 1, 1999, and officially premiered on July 17 of the same year. Hillenburg noted that the show's premise "is that innocence prevailswhich I don't think it always does in real life." It has received positive reviews from critics, and has been noted for its appeal to different age groups. James Poniewozik of Time magazine described the titular character as "the anti-Bart Simpson, temperamentally and physically: his head is as squared-off and neat as Bart's is unruly, and he has a personality to matchconscientious, optimistic and blind to the faults in the world and those around him." On the other hand, The New York Times critic Joyce Millman said that the show "is clever without being impenetrable to young viewers and goofy without boring grown-ups to tears. It's the most charming toon on television, and one of the weirdest. ...Like Pee-wee's Playhouse, SpongeBob joyfully dances on the fine line between childhood and adulthood, guilelessness and camp, the warped and the sweet."
SpongeBob SquarePants was an immediate hit. Within its first month on air, it overtook Pokémon (1997) as the highest-rated Saturday morning children's series. By the end of 2001, the show boasted the highest ratings of any children's series on television. Nickelodeon began adding SpongeBob SquarePants to its Monday-through-Thursday prime-time block. This programming change increased the number of older viewers significantly. By May 2002, the show's total viewership reached more than 61 million, 20 million of which were aged 18 to 49. Hillenburg did not expect the show would be very popular even to adults: "I never imagined that it would get to this point. When you set out to do a show about a sponge, you can't anticipate this kind of craze. We just try to make ourselves laugh, then ask if it's appropriate for children. I can tell you that we hoped it would be liked by adults. But we really thought the best we could hope for was a college audience." SpongeBob SquarePants has gone on to become one of the longest-running series on Nickelodeon. "Ten years. I never imagined working on the show to this date and this long. It never was possible to conceive that. ...I really figured we might get a season and a cult following, and that might be it," Hillenburg said in 2009 during the show's tenth anniversary. Its popularity has made it a media franchise, which is the most-distributed property of MTV Networks. , it has generated $12 billion in merchandising revenue.
Departure
In 2002, Hillenburg halted production of the show after the third season was completed to focus on the making of The SpongeBob SquarePants Movie which was released in 2004: "I don't want to try and do a movie and the series at the same time. We have 60 episodes and that is probably as many as [Nickelodeon] really needs. It is a standard number for a show like this. I have done a little research and people say it is just crazy doing a series and movie at the same time. I would rather concentrate on doing a good job on the movie," he noted. He directed the film from a story that he conceived with five other writer-animators from the series: Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne, and Tim Hill. The writers created a mythical hero's quest: the search for a stolen crown, which brings SpongeBob and his best friend Patrick to the surface. In 2003, during the production of The SpongeBob SquarePants Movie, his mentor Jules Engel died at the age of 94. Hillenburg dedicated the film to his memory. He said that Engel "truly was the most influential artistic person in [his] life." The SpongeBob SquarePants Movie grossed $140 million worldwide, and received positive reviews from critics. The review-aggregator website Rotten Tomatoes rates it 68 percent positive based on 125 reviews, with an average rating of 6.2/10. Its consensus states in summary, "Surreally goofy and entertaining for both children and their parents."
After completing the film, Hillenburg wanted to end the series "so [it] wouldn't jump the shark." "We're working on episodes 40 through 60 right now, and I always looked at that as a typical run for an animated show. [The Ren & Stimpy Show] lasted about that long, for example. And I thought now was a good time to step aside and look at a different project. I personally think it's good not to go to the point where people don't want to see your show anymore," Hillenburg said in 2002. However, Nickelodeon wanted to produce more episodes: "The show was such a cash cow for the station that it couldn't afford not to," storyboard director Sam Henderson observed. Initially Hillenburg doubted that the network would continue the show without him, saying: "I think [Nickelodeon executives] respect that my contribution is important. I think they would want to maintain the original concept and quality." Consequently, he resigned as the showrunner and appointed his trusted staff member Paul Tibbitt to the role. Although he no longer had a direct involvement producing SpongeBob SquarePants, he retained his position as an executive producer and maintained an advisory role, reviewing each episode. Tibbitt started out as a supervising producer but rose up to executive producer when Hillenburg went into semi-retirement in 2004. While he was on the show, he voiced Potty the Parrot and sat in with Derek Drymon at the record studio to direct the voice actors while they were recording. During the fourth season, Tibbitt took on voicing for Potty, while Andrea Romano replaced the two as the voice director.
In 2014, Tibbitt announced on his Twitter account that Hillenburg would return to the show. However, he did not specify what position the former showrunner would hold. As early as 2012, Hillenburg had already been contributing to another film based on the series, which was first reported in 2011 and officially announced the following year, with Tibbitt as director. Tibbitt also wrote the story with Hillenburg, who "[had] been in the studio everyday working with [the crew]." Besides writing, Hillenburg also executive-produced. He said in 2014: "Actually when [the film] wraps, I want to get back to the show. ...it is getting harder and harder to come up with stories. So Paul [Tibbitt] and I are really going to brainstorm and come up with fresh material." Called The SpongeBob Movie: Sponge Out of Water, the second film adaptation was released in 2015 to positive critical reception, currently holding a Rotten Tomatoes approval rating of 80 percent and an average rating of 6.5/10. It earned $323.4 million worldwide, becoming the second highest-grossing film based on an animated television show, behind The Simpsons Movie (2007).
Other pursuits
In 1998, Hillenburg formed United Plankton Pictures Inc., a television and film production company, which produces SpongeBob SquarePants and related media. From 2011 to 2018, the company published SpongeBob Comics, a comic-book series based on the cartoon. Hillenburg announced the venture in a 2011 press release, where he said, "I'm hoping that fans will enjoy finally having a SpongeBob comic book from me." Various cartoonists, including James Kochalka, Hilary Barta, Graham Annable, Gregg Schigiel, and Jacob Chabot, have contributed to issues of the comic.
According to Jeff Lenburg, in his book Who's Who in Animated Cartoons, Hillenburg was co-writing and co-directing a second animated feature film based on Rob Zombie's comic-book series, The Haunted World of El Superbeasto, which was slated for a 2006 release. He helped to write Diggs Tailwagger, a 2007 pilot by Derek Drymon. Hillenburg stated in 2009 that he was developing two other television projects that he did not want to discuss.
In 2010, he began working on Hollywood Blvd., USA, a new short film for animation festivals. In making the two-minute film, he videotaped people walking and animated them in walk cycles. Hillenburg said in 2012, "I hope to get [the film] done. It takes forever." He was aiming to finish it that fall. In 2013, three years after production began, Hollywood Blvd., USA was released to festivals. Hillenburg characterized it as a "personal film" and said that "it's not a narrative. It's just really about people in our town."
Personal life
Hillenburg married Karen Umland, a Southern Californian chef who teaches at the New School of Cooking in Culver City, in 1998. Hillenburg deemed her to be the funniest person that he knew, and the character of Karen Plankton was named after her. Also in 1998, the couple's first and only child, son Clay, was born. Hillenburg formerly resided in Hollywood and in Pasadena, and he lived with his family in San Marino, California, until his death. His hobbies included surfing, snorkeling, scuba diving, swimming, and performing "noisy rock music" on his guitar. He jammed with his son, who is a drummer, which Hillenburg called "a great way to bond with each other." He also enjoyed birdwatching at home, but said that he was always "an ocean freak".
He was known informally as "Steve" among his family, friends, and fans. According to his colleagues, Hillenburg was "a perfectionist workaholic". He was also known for his private nature. Julia Pistor, co-producer of The SpongeBob SquarePants Movie, noted that Hillenburg was "very shy". She went on to say, "He doesn't want people to know about his life or family. He's just a really funny, down-to-earth guy with a dry sense of humor who puts his family first and keeps us on our toes in keeping our corporate integrity." Hillenburg said about himself, "I make animation because I like to draw and create things. I have no real interest to be on camera or to be a celebrity. It's not that I don't like people, but I like having my privacy."
Philanthropy
Hillenburg, with his wife Karen, had endowed numerous projects and organizations through the United Plankton Charitable Trust, which the couple established in 2005. The foundation, the name of which was adopted from Hillenburg's United Plankton Pictures, supports areas of the two's personal interest, giving under $500,000 annually . Grantees include large, established arts-related organizations such as the Los Angeles County Museum of Art and the Society for the Activation of Social Space through Art and Sound, in which Karen is co-chair. Health accounts for most of their grantmaking; they had gifted to Planned Parenthood (where Karen is member of the board of directors ) and the National Multiple Sclerosis Society, among other national health organizations.
In education, they donated to schools, including the Polytechnic School in Pasadena (which their son attended), CalArts, and Humboldt State University. Donations to the latter helped fund the HSU Marine Lab and the Stephen Hillenburg Marine Science Research Award Endowment, which the couple created in 2018 to support the university's marine-science research students. The previous year, the Princess Grace Foundation introduced the Stephen Hillenburg Animation Scholarship, an annual grant from the Hillenburgs to emerging animators.
Illness, death and legacy
Hillenburg disclosed to Variety magazine in March 2017 that he had been diagnosed with amyotrophic lateral sclerosis (ALS), a fatal neurodegenerative disease that affects the motor neurons in the brain and spinal cord. He released a statement to the publication, in which he said that he would continue to work on SpongeBob SquarePants "for as long as [he is] able." He added: "My family and I are grateful for the outpouring of love and support. We ask that our sincere request for privacy be honored during this time." Hillenburg was in the early stages of the disease at the time, according to a source close to him. During his last days as executive producer, he had difficulty speaking, and it came to the point where he eventually stopped coming to the office.
Hillenburg died at his home on November 26, 2018, at the age of 57, due to the complications. According to his death certificate, his body was cremated and his ashes were scattered in the Pacific Ocean at least off the coast of California the next day.
During the halftime show for Super Bowl LIII, the performing band Maroon 5 arranged to use a clip from the SpongeBob episode "Band Geeks" (which uses the song "Sweet Victory" as part of a spoof of a football halftime show) during their show as a means to pay tribute to Hillenburg. A full clip of the "Sweet Victory" song, including a dedication to Hillenburg, was played inside Mercedes-Benz Stadium, but not during the game, which angered many fans. The song was later included in a promo for ViacomCBS' Paramount+ streaming service during Super Bowl LV.
The TV special SpongeBob's Big Birthday Blowout and the theatrical film The SpongeBob Movie: Sponge on the Run are dedicated to him and his career.
In 2019, a spin-off of SpongeBob SquarePants began production, featuring younger versions of the characters attending summer camp. Former showrunner Paul Tibbitt stated that Hillenburg would have disliked the idea; he commented, "Steve [Hillenburg] would always say to me, 'You know, one of these days, they're going to want to make SpongeBob Babies. That's when I'm out of here.'" Tibbitt also released a statement stating, "I do not mean any disrespect to my colleagues who are working on this show ... [but] they all know full well Steve would have hated this." The concept of Kamp Koral came from a season 12 meeting in October 2018, a month before Hillenburg died. Hillenburg is credited as the creator of Kamp Koral, and is credited on other spin-offs as the characters' creator.
Awards and honors
In 1992, one of Hillenburg's early works, Wormholes, won for Best Concept at the Ottawa International Animation Festival. For SpongeBob SquarePants, Hillenburg was nominated for 17 Emmy Awards, winning in the categories of Outstanding Special Class Animated Program and Outstanding Sound Editing – Animation in 2010 and 2014, respectively. The show has also received several other awards and nominations, including 17 Annie Award nominations, winning six times, as well as winning two British Academy Children's Awards, out of four nominations. In 2002, SpongeBob SquarePants won its first TCA Award for Outstanding Achievement in Children's Programming nomination.
In 2001, Heal the Bay, an environmental nonprofit organization, honored Hillenburg with its Walk the Talk award. He was recognized for raising public awareness of marine life through SpongeBob SquarePants. The following year, Hillenburg was given the Television Animation Award from the National Cartoonists Society, and the Princess Grace Statue Award from the Princess Grace Foundation. In 2018, Hillenburg received the Winsor McCay Award at the 45th Annie Awards, and a special recognition at the 45th Daytime Emmy Awards "for his contribution and impact made in the animation field and within the broadcast industry."
The marine demosponge species Clathria hillenburgi, known from mangrove habitats off the coast of Paraíba, Brazil, was named in honor of Stephen Hillenburg.
On November 18, 2021, Hillenburg was honored with a bench and historical plaque at his alma mater Savannah High School in Anaheim, California. The project was a collaboration between the Hillenburg family, Anaheim Historical Society, and YouTube personality Griffin Hansen. Karen Hillenburg specifically chose a bright yellow bench that "she thought perfectly captured her husband's warmth and goofiness". The memorial was dedicated one day before Savanna High School's 60th anniversary at a school-wide assembly hosted by Hansen and principal Michael Pooley. The event was attended by Karen and Clay Hillenburg, as well as members of Spongebob Squarepants' cast and crew including Tom Kenny, Jill Talley, Rodger Bumpass, Bill Fagerbakke, Clancy Brown, Mr. Lawrence, Marc Ceccarelli, and Derek Drymon.
Filmography
Film
Television
References
Further reading
External links
Stephen Hillenburg at the Nickelodeon Animation Studio website
1961 births
2018 deaths
20th-century American male writers
20th-century American painters
20th-century American educators
20th-century American biologists
21st-century American male actors
21st-century American male writers
21st-century American painters
21st-century male artists
21st-century American scientists
American art directors
American cartoonists
American comics artists
American experimental filmmakers
American male painters
American male screenwriters
American male voice actors
American marine biologists
American storyboard artists
American surrealist artists
American television directors
American television writers
American voice directors
American patrons of the arts
American animated film directors
American animated film producers
Animators from California
Animators from Oklahoma
Annie Award winners
Burials at sea
California Institute of the Arts alumni
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[
"Chrisann Brennan (born September 29, 1954) is an American painter and memoirist. She is the author of The Bite in the Apple, an autobiography about her relationship with Apple co-founder Steve Jobs. They had one child, Lisa Brennan-Jobs.\n\nEarly life\nBrennan was born in Dayton, Ohio, in 1954, one of four daughters of James Richard Brennan and Virginia Lavern Rickey. Chrisann was named after the flower chrysanthemum. Brennan notes in her memoir that she is \"dyslexic, which has had the effect of making me differently wired, creative, and a voracious problem solver— bright, but more than slightly clueless to convention.\"\n\nHer father worked for Sylvania and the family lived in a number of places including Colorado Springs and Nebraska. They eventually settled in Sunnyvale, California. Her parents divorced after their move to Buffalo, New York. Brennan attended Homestead High School in Cupertino, California, where she met Steve Jobs during the early months of 1972.\n\nRelationship with Steve Jobs\nBrennan and Jobs's relationship began in 1972 while they were students in high school together. Brennan remained involved with Jobs while he was at Reed College. Brennan (who was now a senior at Homestead High School) did not have plans to attend college, and was supportive of Jobs when he told her he planned to drop out of Reed. He continued to attend by auditing classes, but Brennan stopped visiting him. Jobs later asked her to come and live with him in a house he rented near the Reed campus, but she refused. He had started seeing other women, and she was interested in someone she met in her art class. Brennan speculates that the house was Jobs' attempt to make their relationship monogamous again.\n\nIn mid-1973, Jobs moved back to the San Francisco Bay Area. Brennan states by this point that their \"relationship was complicated. I couldn't break the connection and I couldn't commit. Steve couldn't either.\" Jobs hitchhiked and worked around the West Coast and Brennan would occasionally join him. At the same time, Brennan notes, \"little by little, Steve and I separated. But we were never able to fully let go. We never talked about breaking up or going our separate ways and we didn't have that conversation where one person says it's over.\" They continued to grow apart, but Jobs would still seek her out and visit her. They remained involved with each other while continuing to see other people.\n\nBy early 1974, Jobs was living what Brennan describes as a \"simple life\" in a Los Gatos cabin, working at Atari, and saving money for his impending trip to India. Brennan visited him twice at the cabin. Brennan's memories of this cabin consist of Jobs reading Be Here Now (and giving her a copy), listening to South Indian music, and using a Japanese meditation pillow. Brennan felt that he was more distant and negative towards her. Brennan states in her memoir that she met with Jobs right before he left for India and that he tried to give her $100 that he had earned at Atari. She initially refused to accept it but eventually accepted the money.\n\nAfter Brennan graduated from high school Jobs invited her to come and see him at the All One Farm, a commune in Oregon. While she did not spend much time with Jobs (who was recovering from an illness), Brennan was deeply influenced by the experience of meeting and working with the people that she met there.\n\nIn early 1975, Brennan became involved with a Zen Buddhist community in Los Altos, where she accidentally bumped into Jobs (whom she had not seen since the All One Farm). It was through this community that they would both meet and work with the Zen master Kobun. Jobs and Brennan began to spend more time together, although she noted that his behavior with her was more aloof than in the past. Brennan notes their lives were on different paths as she was deeply involved in her art program at Foothill College where she studied under Gordon Holler while Jobs was working with \"Kobun and Woz.\" She also fell in love with Greg Calhoun (Jobs' former Reed classmate) who had come to visit from the All One Farm. Brennan moved to the All One Farm and lived for a while with Calhoun in a renovated chicken coop. They eventually moved back to the Bay Area to earn money for a trek to India. Jobs helped them find a home to rent, though he was opposed to their traveling together to India. After Brennan and Calhoun had earned enough money to go, Jobs drove them to the airport and gave them advice about how to survive in India. Brennan traveled for a year through India with Calhoun, though their relationship ended by the time she returned to the United States.\n\nApple (1977)\nAfter her return from India, Brennan visited Jobs, whom she now considered just a friend, at his parents' home, where he was still living. It was during this period that Jobs and Brennan fell in love again, as Brennan noted changes in him that she attributes to Kōbun Chino Otogawa, whom she was also still following. It was also at this time that Jobs displayed a prototype Apple computer for Brennan and his parents in their living room. Brennan notes a shift in this time period, where the two main influences on Jobs were Apple and Kobun. By the early 1977, she and Jobs would spend time together at her home at Duveneck Ranch in Los Altos, which served as a hostel and environmental education center. Brennan also worked there as a teacher for inner city children who came to learn about the farm.\n\nAs Jobs and Apple became more successful, his relationship with Brennan grew more complex. In 1977 Brennan, Daniel Kottke, and Jobs moved into a house near the Apple office in Cupertino. Brennan notes that Jobs wanted the three of them to live together because, \"Steve told me that he didn't want to get a house with just the two of us because it felt insufficient to him. Steve wanted his buddy Daniel to live with him because he believed it would break up the intensity of what wasn't working between us. Our relationship was running hot and cold. We were completely crazy about each other and utterly bored in turns. I had suggested to Steve that we separate, but he told me that he just couldn't bring himself to say good-bye.\" In addition, Jobs initially suggested that all three of them each have separate rooms. They were still involved with each other, but even then Brennan states that in her memory of the time, \"I recalled how awful he was becoming and how I was starting to flounder.\" When she moved into the house, she had initially planned to commit to becoming an artist. However, she also needed to find work and eventually took a position at Apple in the Shipping Department (where she was part of a team that tested, assembled, and shipped Apple IIs with Mark Johnson and Bob Martinengo whom she enjoyed working with). She also took art classes at nearby De Anza College.\n\nBrennan's relationship with Jobs was deteriorating as his position with Apple grew and she began to consider ending the relationship. In October 1977, Brennan was approached by Apple employee #5, Rod Holt, who asked her to take \"a paid apprenticeship designing blueprints for the Apples.\" Both Holt and Jobs felt that it would be a good position for her, given her artistic abilities. Brennan's decision, however, was overshadowed by the fact that she realized she was pregnant and that Jobs was the father. It took her a few days to tell Jobs, whose face, according to Brennan \"turned ugly\" at the news. According to Brennan, at the beginning of her third trimester, Jobs said to her: \"I never wanted to ask that you get an abortion. I just didn't want to do that.\" He also refused to discuss the pregnancy with her. Brennan, herself, felt confused about what to do. She was estranged from her mother and afraid to discuss the matter with her father. She also did not feel comfortable with the idea of having an abortion. She chose instead to discuss the matter with Kobun, who encouraged her to have and keep the baby as he would lend his support. Meanwhile, Holt was waiting for her decision on the internship. Brennan states that Jobs continued to encourage her to take the internship, stating that she could \"be pregnant and work at Apple, you can take the job. I don't get what the problem is.\" Brennan however notes that she \"felt so ashamed: the thought of my growing belly in the professional environment at Apple, with the child being his, while he was unpredictable, in turn being punishing and sentimentally ridiculous. I could not have endured it.\" Brennan thus turned down the internship and decided to leave Apple. She states that Jobs told her \"If you give up this baby for adoption, you will be sorry\" and \"I am never going to help you.\"\n\nLisa Brennan-Jobs\nNow alone, Brennan was on welfare and cleaning houses to earn money. She would sometimes ask Jobs for money but he always refused. Brennan hid her pregnancy for as long as she could, living in a variety of homes, and continuing her work with Zen meditation. At the same time, according to Brennan, Jobs \"started to seed people with the notion that I slept around and he was infertile, which meant that this could not be his child.\" A few weeks before she was due, Brennan was invited to have her baby at the All One Farm in Oregon and Brennan accepted the offer.\n\nAt the age of 23, Brennan gave birth to her daughter, Lisa Brennan, on May 17, 1978. Jobs did not attend the birth. He eventually visited after he was contacted by Robert Friedland, their mutual friend and owner of the All One Farm. While distant, Jobs worked with Brennan on a name for the baby. She suggested the name \"Lisa\" and says that Jobs was very attached to the name \"Lisa\" while he \"was also publicly denying paternity.\" She would discover later that Jobs was preparing to unveil a new kind of computer that he wanted to give a female name. She states that she never gave him permission to use the baby's name for a computer and he hid the plans from her. Jobs also worked with his team to come up with the phrase, \"Local Integrated System Architecture\" as an alternative explanation for the Apple Lisa (decades later, however, Jobs admitted to his biographer Walter Isaacson that \"obviously, it was named for my daughter\").\n\nBrennan explored adoption both before and after Lisa's birth but ultimately decided to become a single parent. Once, while staying with friends in the Bay Area, Jobs stopped by to see her. Brennan states that they went for a walk when Jobs said to her, \"I am really sorry. I'll be back, this thing with Apple will be over when I'm about thirty. I am really, really sorry.\" Around the same time, she met with Kobun who distanced himself from her and did not fulfill his promise to help her once the baby was born.\n\nBrennan would come under intense criticism from Jobs, who claimed that \"she doesn't want money, she just wants me.\" According to Brennan, Apple's Mike Scott wanted Jobs to give her money, while other Apple executives \"advised him to ignore me or fight if I tried to go after a paternity settlement.\" Brennan also notes that later, after Jobs was forced out of Apple, \"he apologized many times over for this behavior. He said that he never took responsibility when he should have and that he was sorry.\" By this time, Jobs had developed a strong relationship with Lisa, who wanted her name changed and Jobs agreed. So he had her name on her birth certificate changed from Lisa Brennan to Lisa Brennan-Jobs.\n\nWhen Lisa was a baby and Jobs continued to deny paternity, a DNA paternity test was given that established him as Lisa's father. He was required to give Brennan $385 a month and return the money she had received from welfare. Jobs gave her $500 a month at the time when Apple went public, and Jobs became a millionaire. Brennan worked as a waitress in Palo Alto. Later, Brennan agreed to give an interview with Michael Moritz for Time magazine. It would be for its 1982 Person of the Year special (released on January 3, 1983). She decided to be honest about her relationship with Jobs. The Time magazine issue had a lifelong impact on Brennan. Rather than give Jobs the \"Person of the Year\" award, Time offered the award of \"Machine of the Year: The Computer Moves In\". In the issue, Jobs questioned the reliability of the paternity test (which stated that the \"probability of paternity for Jobs, Steven ... is 94.1%\"). Jobs responded by arguing that \"28% of the male population of the United States could be the father.\" Time also noted that \"the baby girl and the machine on which Apple has placed so much hope for the future share the same name: Lisa.\" After this issue, Brennan \"didn't pay much attention to Steve's career again.\"\n\nOver the years, however, Brennan and Jobs developed a working relationship to co-parent Lisa, particularly after he was forced out of Apple. Brennan credits the change in him to the influence of his newly found biological sister, Mona Simpson, who worked to repair the relationship between Lisa and Jobs.\n\nAccording to Fortune, Brennan wrote a letter to Jobs in 2005, and another in 2009, in which she said she would abandon writing her memoirs if Jobs would supply her with financial compensation of US$28 million for the suffering she went through as a single mother.\n\nPainter\nDuring the late 1980s, Brennan decided to finish her formal education and began to study at the California College of Arts and Crafts (where she was able to transfer her units from Foothill College). She asked Jobs to pay her tuition. He agreed to this request and according to Brennan was quite happy to do so, as part of his developing relationship with Lisa. In 1989, she transferred to the San Francisco Art Institute.\n\nBrennan has lived in Monterey, California, while working as a professional painter. She describes her art as \"light encoded paintings\" and works mostly on commission for either private or corporate parties. She has also created murals for the Ronald McDonald House, Los Angeles County Hospital, Massachusetts General Hospital in Boston, and Packard Children's Hospital. Brennan stated that painting is \"a language for me. Letters are form, and paintings are documents for information. When I mix those two, I'm happy. It gets me out of the normal way, which is what I want to do.\"\n\nWorks\n Brennan, Chrisann. The Bite in the Apple. New York: St. Martin's Press, 2013.\n The Brennan piece is a sidebar (Scroll down the page) of the main article: \"The Steve Jobs Nobody Knew\"\n\nPortrayals\nBrennan was portrayed by Gema Zamprogna in Pirates of Silicon Valley, by Ahna O'Reilly in Jobs and by Katherine Waterston in Steve Jobs.\n\nReferences\n\n1954 births\n20th-century American women artists\n21st-century American women artists\nAmerican essayists\nAmerican women essayists\nAmerican women painters\nAmerican Zen Buddhists\nApple Inc. employees\nArtists from the San Francisco Bay Area\nCalifornia College of the Arts alumni\nCulture of the Pacific Northwest\nDyslexic writers\nFamily of Steve Jobs\nFoothill College alumni\nLiving people\nPeople from Sunnyvale, California\nSan Francisco Art Institute alumni",
"Ahmed bin Mohammed bin Khalifa bin Hamad Al Khalifa (, born in 1929, died March 29, 2004) was a Bahraini poet. Born in the village of Al Jasra, he held several government jobs in his youth, and then became a self-employed poet and writer. He represented his country at a number of literary conferences in several Arab capitals. As the author of several collections of poetry, he saw his first four collections printed as العناقيد الأربعة (“Four Collections”) in 1980.\n\nBiography\nAl Khalifa was born in Al Jasra in 1929 to a branch of the House of Khalifa. His family moved to Zallaq when he was three, and he grew up until he moved to Manama for schooling in 1951. He attended Manama schools through high school, then took private tutoring in Arabic.\n\nOccupying several government jobs in his youth, he soon devoted himself full-time to writing. He represented Bahrain in literary conferences in Riyadh, Tunis, and most notably the Cairo International Book Fair.\n\nHe died on March 29, 2004.\n\nCareer\nHe started writing poetry from an early age, first publishing in the BBC’s Arabic Listener before being featured in a number of Gulf and other Arab magazines. Considered a leading patriotic poet, he is also well-known for his nabati (vernacular poetry). His work has been translated into English and German.\n\nAwards\nHe received the Order of Poetry in Muscat, Oman.\n\nPublications\n من أغاني البحرين (“Songs from Bahrain,” 1955)\n هجير وسراب (“Hajir and Sarab,” 1962)\n بقايا الغدران (“Dangerous Remains,” 1966)\n القمر والنخيل (“The Moon and the Palms,” 1980)\n العناقيد الأربعة (“Four Collections,” a compilation of his first four collections, 1980)\n غيوام في الصيف (“Summer Clouds,” 1988)\n ماذا قالت البحرين للكويت (“What Did Bahrain Say to Kuwait?,” 1991)\n عبير الوادي (“Scent of the Valley,” 2001)\n\nReferences\n\n20th-century Bahraini poets\n21st-century Bahraini poets\nHouse of Khalifa\n1929 births\n2004 deaths"
] |
[
"Stephen Hillenburg",
"Early career",
"What did he start his career in?",
"park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children.",
"What subject did he teach when he became a teacher?",
"marine-biology teacher",
"Did he teach any other subjects alone the years?",
"tide-pool ecology, nautical history, diversity and adaptation.",
"Between those years did he come up with Sponge bob?",
"I don't know.",
"What year was he teaching or start?",
"1984,",
"What was the name of the school he was teaching at?",
"Orange County Marine Institute",
"What other jobs did he have in his early career?",
"He created a comic called The Intertidal Zone,"
] |
C_6201d5b174b24dec99fc9ee08806de24_1
|
Does it state what the comic was about?
| 8 |
What was Stephen Hillenburg's comic The Intertidal Zone about?
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Stephen Hillenburg
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After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California that is dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession. While working there, he was asked by one of the educational directors if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters--including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but was turned down by the publishers that he approached. At one point during his tenure with the Orange County Marine Institute, Hillenburg started going to animation festivals such as the International Tournee of Animation and Spike and Mike's Festival of Animation where, at one of those, films made by California Institute of the Arts (colloquially called CalArts) students were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator. In 1989, Hillenburg enrolled in the Experimental Animation Program at CalArts. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considers his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. CANNOTANSWER
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featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob
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Stephen McDannell Hillenburg (August 21, 1961 – November 26, 2018) was an American animator, writer, producer, and marine science educator. Hillenburg created the Nickelodeon animated television series SpongeBob SquarePants, on which he served as the showrunner for the first three seasons of the show, and has become the fifth-longest-running American animated series.
Born in Lawton, Oklahoma, and raised in Anaheim, California, Hillenburg became fascinated with the ocean as a child and developed an interest in art. He started his professional career in 1984, instructing marine biology, at the Orange County Marine Institute, where he wrote The Intertidal Zone, an informative picture book about tide-pool animals, which he used to educate his students. In 1989, two years after leaving teaching, Hillenburg enrolled at the California Institute of the Arts to pursue a career in animation. He was later offered a job on the Nickelodeon animated television series Rocko's Modern Life (19931996) after his success with The Green Beret and Wormholes (both 1992), short films that he made while studying animation.
In 1994, Hillenburg began developing The Intertidal Zone characters and concepts for what became SpongeBob SquarePants. The show has aired continuously since its premiere in 1999. He also directed The SpongeBob SquarePants Movie (2004), which he originally intended to be the series finale. Hillenburg resigned as showrunner, but Nickelodeon continued to produce more episodes after he departed the series. He resumed making short films, with Hollywood Blvd., USA in 2013, but continued to be credited as an executive producer for SpongeBob SquarePants. Hillenburg co-wrote the story for the second film adaptation of the series, The SpongeBob Movie: Sponge Out of Water, which was released in 2015.
Besides his two Emmy Awards and six Annie Awards for SpongeBob SquarePants, Hillenburg also received other recognition, such as an accolade from Heal the Bay for his efforts on elevating marine life awareness, and the Television Animation Award from the National Cartoonists Society. Hillenburg announced he was diagnosed with amyotrophic lateral sclerosis (ALS) in 2017, but stated he would continue to work on SpongeBob SquarePants as long as possible. He died on November 26, 2018, at the age of 57.
Early life and education
Stephen McDannell Hillenburg was born on August21, 1961 at Fort Sill, a United States Army post in Lawton, Oklahoma, where his father, Kelly N. Hillenburg Jr., worked for the U.S. military. His mother, Nancy (née Dufour), taught visually impaired students. When he was a year old, the family moved to Orange County, California, where his father began a career as a draftsman and designer in the aerospace industry. His younger brother, Bryan, eventually became a draftsman/designer as well.
When an interviewer asked Hillenburg to describe himself as a child, he replied that he was "probably well-meaning and naive like all kids." His passion for sea life can be traced to his childhood, when films by French oceanographer Jacques Cousteau made a strong impression on him. Hillenburg said that Cousteau "provided a view into that world", which he had not known existed. He liked to explore tide pools as a child, bringing home objects that "should have been left there and that ended up dying and smelling really bad."
Hillenburg also developed his interest in art at a young age. His first drawing was of an orange slice. An illustration which he drew in third grade, depicting "a bunch of army men... kissing and hugging instead of fighting", brought him the first praise for his artwork, when his teacher commended it. "Of course, this is 1970... She liked it because, I mean, obviously that was in the middle of [the Vietnam War]. She was, I would imagine, not a hundred percent for the war like a lot of people then. ...I had no idea about the implications, really, because I just thought it was a funny idea. I remember that still, that moment when she said, 'oh my gosh, look at that'", Hillenburg elaborated. It was then when he knew he "had some [creative] skill". He asserted that his artistry came from his mother's side, despite his father being a draftsman, noting that his maternal grandmother was "really, really gifted" and a "great painter". In the 1970s, someone took Hillenburg to the International Tournée of Animation at the Los Angeles County Museum of Art. He was "knocked out" by the foreign animated films, including Dutch animator Paul Driessen's The Killing of an Egg (1977). "That was the film that I thought was uniquely strange and that lodged itself in my head early on," he recounted.
He attended Savanna High School in Anaheim, describing himself as a "band geek" who played the trumpet. At age 15, he snorkeled for the first time; Hillenburg took part in a "dive program" at Woods Coves in Laguna Beach, as part of the Regional Occupational Program at Savanna. This experience, as well as subsequent dives, reinforced his interest in, and led to his decision to study, marine biology in college: "The switch clicked and I decided I wanted to be a marine biologist, but I also liked being an artist." Some of his high-school teachers, who knew of his interest in art and fascination with the ocean, advised him otherwise, saying: "You should just draw fish." However, the idea of drawing fish seemed boring to him and he was more riveted by "making weird, little paintings". During a few summers after finishing high school, he worked as a fry cook and lobster boiler at a fast-food seafood restaurant in Maine. (This later inspired SpongeBob SquarePants' occupation in the television series, which he would begin developing in 1994.)
Hillenburg went to Humboldt State University in Arcata, California as a marine-science major. He minored in art, and claimed that "[he] blossomed as a painter in Humboldt." In 1984, he earned his bachelor's degree in natural-resource planning and interpretation, with an emphasis on marine resources. He intended to take a master's degree, but said it would be in art: "Initially I think I assumed that if I went to school for art I would never have any way of making a living, so I thought it might be smarter to keep art my passion and hobby and study something else. But by the time I got to the end of my undergrad work, I realized I should be in art."
Early career
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California, dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession.
While working there, one of the educational directors asked him if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters—including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but the publishers he approached turned him down.
During this time, Hillenburg also started going to animation festivals such as the International Tournée of Animation and Spike and Mike's Festival of Animation where films made by students from the California Institute of the Arts (colloquially called CalArts) were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.
Hillenburg enrolled in CalArts' Experimental Animation Program in 1989. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considered his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. During his time at CalArts, he briefly drew comics for the surfing magazine KEMA in 1990.
Animation career
Early works
Hillenburg made his first animated works, short films The Green Beret (1991) and Wormholes (1992), while at CalArts. The Green Beret was about a physically challenged Girl Scout with enormous fists who toppled houses and destroyed neighborhoods while trying to sell Girl Scout cookies. Wormholes was his seven-minute thesis film, about the theory of relativity. He described the latter as "a poetic animated film based on relativistic phenomena" in his grant proposal in 1991 to the Princess Grace Foundation, which assists emerging artists in American theater, dance, and film. The foundation agreed to fund the effort, providing Hillenburg with a Graduate Film Scholarship. "It meant a lot. They funded one of the projects I'm most proud of, even with SpongeBob. It provided me the opportunity just to make a film that was personal, and what I would call independent, and free of some of the commercial needs," he said in 2003. Wormholes was shown at several international animation festivals, including: the Annecy International Animated Film Festival; the Hiroshima International Animation Festival; the Los Angeles International Animation Celebration; the International Short Film Festival Oberhausen; and the Ottawa International Animation Festival, where it won Best Concept. LA Weekly labeled the film "road-trippy" and "Zap-comical", while Manohla Dargis of The New York Times opined that it was inventive.
Hillenburg explained that "anything goes" in experimental animation. Although this allowed him to explore alternatives to conventional methods of filmmaking, he still ventured to employ "an industry style"; he preferred to traditionally animate his films (where each frame is drawn by hand) rather than, for instance, make cartoons "out of sand by filming piles of sand changing". Hillenburg had at least one other short film that he made as an animation student but its title is unspecified.
Rocko's Modern Life
Hillenburg's first professional job in the animation business was as a director on Rocko's Modern Life (19931996), Nickelodeon's first in-house cartoon production. He "ended up finding work in the industry and got a job" at the television network after he met the show's creator, Joe Murray, at the 1992 Ottawa International Animation Festival, where Wormholes and Murray's My Dog Zero were both in competition. Murray, who was looking for people to direct Rocko's Modern Life at the time, saw Hillenburg's film and offered him a directorial role on the television series. He "[had] friends that [gave him] a hard time about [the offer]. ... but doors opened when [he] stepped into the animation world," so he accepted it. He "was planning on being a starving artist": "[I spent] several thousand dollars to make a film and [realized] I may not make it backI had loans out. Fortunately, Joe Murray saw my film... and he took a huge chance," Hillenburg related.
Hillenburg worked closely with Murray on Rocko's Modern Life for its whole run on the air. Aside from directing, he also produced, wrote and storyboarded for some episodes, and served as the executive story editor. In 1995, during the show's fourth and final season, he was promoted to creative director, where he helped oversee pre- and post-production. Working on the series enabled him to repay his loans. He later related that he "learned a great deal about writing and producing animation for TV" from his stint on Rocko's Modern Life.
SpongeBob SquarePants
Creation
Some evidence shows that the idea for SpongeBob SquarePants dates back to 1986, during Hillenburg's time at the Orange County Marine Institute. He indicated that children's television series such as The New Adventures of Mighty Mouse (19871988) and Pee-wee's Playhouse (19861991) "sparked something in [him]." He continued, "I don't know if this is true for everybody else, but it always seems like, for me, I'll start thinking about something and it takes about ten years to actually have it happen, or have someone else believe in it... It took me a few years to get [SpongeBob SquarePants] together."
During the production of Rocko's Modern Life, Martin Olson, one of the writers, read The Intertidal Zone and encouraged Hillenburg to create a television series with a similar concept. At that point, he had not even considered creating his own series: "After watching Joe [Murray] tear his hair out a lot, dealing with all the problems that came up, I thought I would never want to produce a show of my own." However, he realized that if he ever did, this would be the best approach: "For all those years it seemed like I was doing these two totally separate things. I wondered what it all meant. I didn't see a synthesis. It was great when [my two interests] all came together in [a show]. I felt relieved that I hadn't wasted a lot of time doing something that I then abandoned to do something else. It has been pretty rewarding," Hillenburg said in 2002. He claimed that he finally decided to create a series as he was driving to the beach on the Santa Monica Freeway one day.
As he was developing the show's concept, Hillenburg remembered his teaching experience at the Orange County Marine Institute and how mesmerized children were by tide-pool animals, including crabs, octopuses, starfish, and sponges. It came to him that the series should take place underwater, with a focus on those creatures: "I wanted to create a small town underwater where the characters were more like us than like fish. They have fire. They take walks. They drive. They have pets and holidays." It suited what Hillenburg liked for a show, "something that was fantastic but believable." He also wanted his series to stand out from most popular cartoons of the time exemplified by buddy comedies such as The Ren & Stimpy Show (19911995). As a result, he decided to focus on one main character: the weirdest sea creature that he could think of. This led him to the sponge: "I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one." In 1994, Hillenburg began to further develop some characters from The Intertidal Zone, including Bob the Sponge.
Bob the Sponge is the comic's "announcer". He resembles an actual sea sponge, and at first Hillenburg continued this design because it "was the correct thing to do biologically as a marine-science teacher." In determining the new character's personality, he drew inspiration from innocent, childlike figures that he enjoyed, such as Charlie Chaplin, Laurel and Hardy, Jerry Lewis, Pee-wee Herman, Abbott and Costello, and The Three Stooges. He then considered modeling the character after a kitchen sponge, and realized that this idea would match the character's square personality perfectly: "[I]t looked so funny. I think as far as cartoon language goes he was easier to recognize. He seemed to fit the character type I was looking fora somewhat nerdy, squeaky clean oddball." To voice the central character of the series, Hillenburg turned to Tom Kenny, whose career in animation had begun with his on Rocko's Modern Life. Elements of Kenny's own personality were employed in further developing the character.
While pitching the cartoon to executives at Nickelodeon, Hillenburg donned a Hawaiian shirt, brought along an "underwater terrarium with models of the characters", and played Hawaiian music to set the theme. Nickelodeon executive Eric Coleman described the setup as "pretty amazing". Although Derek Drymon, creative director of SpongeBob SquarePants, described the pitch as stressful, he said it went "very well". Nickelodeon approved and gave Hillenburg money to produce the show.
Broadcast
SpongeBob SquarePants was Nickelodeon's first original Saturday-morning cartoon. It first aired as a preview on May 1, 1999, and officially premiered on July 17 of the same year. Hillenburg noted that the show's premise "is that innocence prevailswhich I don't think it always does in real life." It has received positive reviews from critics, and has been noted for its appeal to different age groups. James Poniewozik of Time magazine described the titular character as "the anti-Bart Simpson, temperamentally and physically: his head is as squared-off and neat as Bart's is unruly, and he has a personality to matchconscientious, optimistic and blind to the faults in the world and those around him." On the other hand, The New York Times critic Joyce Millman said that the show "is clever without being impenetrable to young viewers and goofy without boring grown-ups to tears. It's the most charming toon on television, and one of the weirdest. ...Like Pee-wee's Playhouse, SpongeBob joyfully dances on the fine line between childhood and adulthood, guilelessness and camp, the warped and the sweet."
SpongeBob SquarePants was an immediate hit. Within its first month on air, it overtook Pokémon (1997) as the highest-rated Saturday morning children's series. By the end of 2001, the show boasted the highest ratings of any children's series on television. Nickelodeon began adding SpongeBob SquarePants to its Monday-through-Thursday prime-time block. This programming change increased the number of older viewers significantly. By May 2002, the show's total viewership reached more than 61 million, 20 million of which were aged 18 to 49. Hillenburg did not expect the show would be very popular even to adults: "I never imagined that it would get to this point. When you set out to do a show about a sponge, you can't anticipate this kind of craze. We just try to make ourselves laugh, then ask if it's appropriate for children. I can tell you that we hoped it would be liked by adults. But we really thought the best we could hope for was a college audience." SpongeBob SquarePants has gone on to become one of the longest-running series on Nickelodeon. "Ten years. I never imagined working on the show to this date and this long. It never was possible to conceive that. ...I really figured we might get a season and a cult following, and that might be it," Hillenburg said in 2009 during the show's tenth anniversary. Its popularity has made it a media franchise, which is the most-distributed property of MTV Networks. , it has generated $12 billion in merchandising revenue.
Departure
In 2002, Hillenburg halted production of the show after the third season was completed to focus on the making of The SpongeBob SquarePants Movie which was released in 2004: "I don't want to try and do a movie and the series at the same time. We have 60 episodes and that is probably as many as [Nickelodeon] really needs. It is a standard number for a show like this. I have done a little research and people say it is just crazy doing a series and movie at the same time. I would rather concentrate on doing a good job on the movie," he noted. He directed the film from a story that he conceived with five other writer-animators from the series: Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne, and Tim Hill. The writers created a mythical hero's quest: the search for a stolen crown, which brings SpongeBob and his best friend Patrick to the surface. In 2003, during the production of The SpongeBob SquarePants Movie, his mentor Jules Engel died at the age of 94. Hillenburg dedicated the film to his memory. He said that Engel "truly was the most influential artistic person in [his] life." The SpongeBob SquarePants Movie grossed $140 million worldwide, and received positive reviews from critics. The review-aggregator website Rotten Tomatoes rates it 68 percent positive based on 125 reviews, with an average rating of 6.2/10. Its consensus states in summary, "Surreally goofy and entertaining for both children and their parents."
After completing the film, Hillenburg wanted to end the series "so [it] wouldn't jump the shark." "We're working on episodes 40 through 60 right now, and I always looked at that as a typical run for an animated show. [The Ren & Stimpy Show] lasted about that long, for example. And I thought now was a good time to step aside and look at a different project. I personally think it's good not to go to the point where people don't want to see your show anymore," Hillenburg said in 2002. However, Nickelodeon wanted to produce more episodes: "The show was such a cash cow for the station that it couldn't afford not to," storyboard director Sam Henderson observed. Initially Hillenburg doubted that the network would continue the show without him, saying: "I think [Nickelodeon executives] respect that my contribution is important. I think they would want to maintain the original concept and quality." Consequently, he resigned as the showrunner and appointed his trusted staff member Paul Tibbitt to the role. Although he no longer had a direct involvement producing SpongeBob SquarePants, he retained his position as an executive producer and maintained an advisory role, reviewing each episode. Tibbitt started out as a supervising producer but rose up to executive producer when Hillenburg went into semi-retirement in 2004. While he was on the show, he voiced Potty the Parrot and sat in with Derek Drymon at the record studio to direct the voice actors while they were recording. During the fourth season, Tibbitt took on voicing for Potty, while Andrea Romano replaced the two as the voice director.
In 2014, Tibbitt announced on his Twitter account that Hillenburg would return to the show. However, he did not specify what position the former showrunner would hold. As early as 2012, Hillenburg had already been contributing to another film based on the series, which was first reported in 2011 and officially announced the following year, with Tibbitt as director. Tibbitt also wrote the story with Hillenburg, who "[had] been in the studio everyday working with [the crew]." Besides writing, Hillenburg also executive-produced. He said in 2014: "Actually when [the film] wraps, I want to get back to the show. ...it is getting harder and harder to come up with stories. So Paul [Tibbitt] and I are really going to brainstorm and come up with fresh material." Called The SpongeBob Movie: Sponge Out of Water, the second film adaptation was released in 2015 to positive critical reception, currently holding a Rotten Tomatoes approval rating of 80 percent and an average rating of 6.5/10. It earned $323.4 million worldwide, becoming the second highest-grossing film based on an animated television show, behind The Simpsons Movie (2007).
Other pursuits
In 1998, Hillenburg formed United Plankton Pictures Inc., a television and film production company, which produces SpongeBob SquarePants and related media. From 2011 to 2018, the company published SpongeBob Comics, a comic-book series based on the cartoon. Hillenburg announced the venture in a 2011 press release, where he said, "I'm hoping that fans will enjoy finally having a SpongeBob comic book from me." Various cartoonists, including James Kochalka, Hilary Barta, Graham Annable, Gregg Schigiel, and Jacob Chabot, have contributed to issues of the comic.
According to Jeff Lenburg, in his book Who's Who in Animated Cartoons, Hillenburg was co-writing and co-directing a second animated feature film based on Rob Zombie's comic-book series, The Haunted World of El Superbeasto, which was slated for a 2006 release. He helped to write Diggs Tailwagger, a 2007 pilot by Derek Drymon. Hillenburg stated in 2009 that he was developing two other television projects that he did not want to discuss.
In 2010, he began working on Hollywood Blvd., USA, a new short film for animation festivals. In making the two-minute film, he videotaped people walking and animated them in walk cycles. Hillenburg said in 2012, "I hope to get [the film] done. It takes forever." He was aiming to finish it that fall. In 2013, three years after production began, Hollywood Blvd., USA was released to festivals. Hillenburg characterized it as a "personal film" and said that "it's not a narrative. It's just really about people in our town."
Personal life
Hillenburg married Karen Umland, a Southern Californian chef who teaches at the New School of Cooking in Culver City, in 1998. Hillenburg deemed her to be the funniest person that he knew, and the character of Karen Plankton was named after her. Also in 1998, the couple's first and only child, son Clay, was born. Hillenburg formerly resided in Hollywood and in Pasadena, and he lived with his family in San Marino, California, until his death. His hobbies included surfing, snorkeling, scuba diving, swimming, and performing "noisy rock music" on his guitar. He jammed with his son, who is a drummer, which Hillenburg called "a great way to bond with each other." He also enjoyed birdwatching at home, but said that he was always "an ocean freak".
He was known informally as "Steve" among his family, friends, and fans. According to his colleagues, Hillenburg was "a perfectionist workaholic". He was also known for his private nature. Julia Pistor, co-producer of The SpongeBob SquarePants Movie, noted that Hillenburg was "very shy". She went on to say, "He doesn't want people to know about his life or family. He's just a really funny, down-to-earth guy with a dry sense of humor who puts his family first and keeps us on our toes in keeping our corporate integrity." Hillenburg said about himself, "I make animation because I like to draw and create things. I have no real interest to be on camera or to be a celebrity. It's not that I don't like people, but I like having my privacy."
Philanthropy
Hillenburg, with his wife Karen, had endowed numerous projects and organizations through the United Plankton Charitable Trust, which the couple established in 2005. The foundation, the name of which was adopted from Hillenburg's United Plankton Pictures, supports areas of the two's personal interest, giving under $500,000 annually . Grantees include large, established arts-related organizations such as the Los Angeles County Museum of Art and the Society for the Activation of Social Space through Art and Sound, in which Karen is co-chair. Health accounts for most of their grantmaking; they had gifted to Planned Parenthood (where Karen is member of the board of directors ) and the National Multiple Sclerosis Society, among other national health organizations.
In education, they donated to schools, including the Polytechnic School in Pasadena (which their son attended), CalArts, and Humboldt State University. Donations to the latter helped fund the HSU Marine Lab and the Stephen Hillenburg Marine Science Research Award Endowment, which the couple created in 2018 to support the university's marine-science research students. The previous year, the Princess Grace Foundation introduced the Stephen Hillenburg Animation Scholarship, an annual grant from the Hillenburgs to emerging animators.
Illness, death and legacy
Hillenburg disclosed to Variety magazine in March 2017 that he had been diagnosed with amyotrophic lateral sclerosis (ALS), a fatal neurodegenerative disease that affects the motor neurons in the brain and spinal cord. He released a statement to the publication, in which he said that he would continue to work on SpongeBob SquarePants "for as long as [he is] able." He added: "My family and I are grateful for the outpouring of love and support. We ask that our sincere request for privacy be honored during this time." Hillenburg was in the early stages of the disease at the time, according to a source close to him. During his last days as executive producer, he had difficulty speaking, and it came to the point where he eventually stopped coming to the office.
Hillenburg died at his home on November 26, 2018, at the age of 57, due to the complications. According to his death certificate, his body was cremated and his ashes were scattered in the Pacific Ocean at least off the coast of California the next day.
During the halftime show for Super Bowl LIII, the performing band Maroon 5 arranged to use a clip from the SpongeBob episode "Band Geeks" (which uses the song "Sweet Victory" as part of a spoof of a football halftime show) during their show as a means to pay tribute to Hillenburg. A full clip of the "Sweet Victory" song, including a dedication to Hillenburg, was played inside Mercedes-Benz Stadium, but not during the game, which angered many fans. The song was later included in a promo for ViacomCBS' Paramount+ streaming service during Super Bowl LV.
The TV special SpongeBob's Big Birthday Blowout and the theatrical film The SpongeBob Movie: Sponge on the Run are dedicated to him and his career.
In 2019, a spin-off of SpongeBob SquarePants began production, featuring younger versions of the characters attending summer camp. Former showrunner Paul Tibbitt stated that Hillenburg would have disliked the idea; he commented, "Steve [Hillenburg] would always say to me, 'You know, one of these days, they're going to want to make SpongeBob Babies. That's when I'm out of here.'" Tibbitt also released a statement stating, "I do not mean any disrespect to my colleagues who are working on this show ... [but] they all know full well Steve would have hated this." The concept of Kamp Koral came from a season 12 meeting in October 2018, a month before Hillenburg died. Hillenburg is credited as the creator of Kamp Koral, and is credited on other spin-offs as the characters' creator.
Awards and honors
In 1992, one of Hillenburg's early works, Wormholes, won for Best Concept at the Ottawa International Animation Festival. For SpongeBob SquarePants, Hillenburg was nominated for 17 Emmy Awards, winning in the categories of Outstanding Special Class Animated Program and Outstanding Sound Editing – Animation in 2010 and 2014, respectively. The show has also received several other awards and nominations, including 17 Annie Award nominations, winning six times, as well as winning two British Academy Children's Awards, out of four nominations. In 2002, SpongeBob SquarePants won its first TCA Award for Outstanding Achievement in Children's Programming nomination.
In 2001, Heal the Bay, an environmental nonprofit organization, honored Hillenburg with its Walk the Talk award. He was recognized for raising public awareness of marine life through SpongeBob SquarePants. The following year, Hillenburg was given the Television Animation Award from the National Cartoonists Society, and the Princess Grace Statue Award from the Princess Grace Foundation. In 2018, Hillenburg received the Winsor McCay Award at the 45th Annie Awards, and a special recognition at the 45th Daytime Emmy Awards "for his contribution and impact made in the animation field and within the broadcast industry."
The marine demosponge species Clathria hillenburgi, known from mangrove habitats off the coast of Paraíba, Brazil, was named in honor of Stephen Hillenburg.
On November 18, 2021, Hillenburg was honored with a bench and historical plaque at his alma mater Savannah High School in Anaheim, California. The project was a collaboration between the Hillenburg family, Anaheim Historical Society, and YouTube personality Griffin Hansen. Karen Hillenburg specifically chose a bright yellow bench that "she thought perfectly captured her husband's warmth and goofiness". The memorial was dedicated one day before Savanna High School's 60th anniversary at a school-wide assembly hosted by Hansen and principal Michael Pooley. The event was attended by Karen and Clay Hillenburg, as well as members of Spongebob Squarepants' cast and crew including Tom Kenny, Jill Talley, Rodger Bumpass, Bill Fagerbakke, Clancy Brown, Mr. Lawrence, Marc Ceccarelli, and Derek Drymon.
Filmography
Film
Television
References
Further reading
External links
Stephen Hillenburg at the Nickelodeon Animation Studio website
1961 births
2018 deaths
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| true |
[
"What the Duck is a comic strip by Aaron Johnson that was produced from 2006 to 2016. It started as a webcomic, with the first strip posted in July 2006. The strip Is popular with photographers due to its accurate but humorously twisted take on the world of photography, and has been published in numerous photography magazines including Amateur Photographer. It was picked up for syndication in 2008 by Universal Press Syndicate under the name W. T. Duck.\n\nBackground\nThe main character of the comic strip is a professional photographer who is a duck. The strip was launched in July 2006, and was originally intended as content filler for the website of Johnson's band, Sweet Jelly, rather than as a serious endeavor. Johnson originally published a series of only five strips; shortly thereafter, word of the new strip spread across the internet via photography-related message boards. What the Duck continued to grow in popularity, eventually spawning its own website as well as a line of WTD-themed merchandise.\n\nOverview\nThe comic strip's witty humor and smart observations about photography have made it a favorite among many amateur and professional photographers. However, Johnson said that What the Duck is not just about photographers, but about creative professionals in general: the strip provides a sometimes-unique perspective about their lives and experiences, and represents a \"voice that isn’t always heard\".\n\nThe name of each strip is chosen by the author from those suggested by the readers in the comment section of the comic. The author approves of and even encourages people spreading the strips on the web.\n\nWhat the Duck has been described as having a \"minimalist\" style, utilizing \"clean lines, crisp colors, and witty, wry dialogue\". Because the characters are presented \"as is\", with little back story or character development, the humor in each strip is relatively easy to understand.\n\nSyndication\nJohnson submitted What The Duck to six major comic strip syndicates in December 2006.\nInitially, he was turned down by Universal Press Syndicate (UPS). However, Johnson attracted their attention with \"Syndicate Bingo\", in which he placed the responses of the comic syndicates on a bingo board posted on his website.\n\nUPS ultimately picked up What The Duck for syndication in 2008, but with the modified name, W.T. Duck. John Glynn, Vice President of Rights and Acquisitions for UPS, referred to Johnson as \"the first real 21st century cartoonist\".\n\nThe comic strip has been published in newspapers and magazines in the US, UK, Canada, South Africa, and Malaysia.\n\nBooks\nThe comic strips have also been published in two books: What the Duck, Rule of Nerds, published by Lulu.com in 2007; and What the Duck: A W.T. Duck Collection, published by Andrews McMeel Publishing in 2009.\n\nWhat the Duck merchandise is available through the official website.\n\nReferences\n\nExternal links\n \nWhat the Duck official Russian translations\nWhat the Duck comic strips explained for English learners\n\n2000s webcomics\n2010s webcomics\n2006 webcomic debuts\nAmerican comedy webcomics",
"What's New with Phil & Dixie is a gaming parody comic by Phil Foglio. What's New was Foglio's first comic, and was published in the magazines Dragon and The Duelist, as well as in print collections and online.\n\nPremise \nThe comic stars Phil Foglio, along with Dixie Null, as they explore the world of gaming, particularly tabletop RPGs, with a mixture of reportage and advice to the reader. Strips created for The Duelist magazine focused on Magic: The Gathering.\n\nA long-running joke revolved around the often promised and often delayed \"Sex in D&D\" segment. This segment never appeared in magazine printings, but was finally written and included as additional material in one of the strip's book printings.\n\nOriginal magazine publications \nIn an interview, Foglio said that What's New was his start in comics, and was first published in Dragon magazine in 1980. In another interview, he said that he had done some covers for Dragon, and noted he could earn much more for similar effort if he added jokes.\n\nAccording to Wizards of the Coast, the current owners of Dragon, the comic first appeared in Dragon shortly before issue #50 and ran until issue #84 (i.e., in 1984), when Foglio stopped the comic to work on other projects. According to Wizards, characters from What's New appeared in another Foglio work, Another Fine Myth.\n\nWizards also states that What's New was revived for a run in The Duelist magazine, also published by Wizards of the Coast. It ran in The Duelist from 1993 to 1999, ending when publication of The Duelist ceased.\n\nAfter the end of The Duelist, the comic returned to Dragon and ran there from 1999 to 2003 (issues 265–311), plus a final \"farewell\" installment Dragon #359, the last issue of Dragon in print.\n\nBook printings and online publication \nThe entire run in Dragon, plus additional material, was published in two print collections by Palliard Press.\n\nIn 2001 a third volume was published by Studio Foglio collecting all the Duelist magazine strips, along with some bonus content.\n\nFrom 2007 to 2010, What's New was republished on Foglio's website as a weekly webcomic.\n\nReception \nThe author and blogger Cory Doctorow has said he loved What's New when he was a kid.\n\nReferences\n\nCitations\n\nComic references\nSource dates in these references refer to the original printing date. These comics were reprinted on Foglio's website between 2007 and 2010.\n\nExternal links\n Archive of all What's New with Phil and Dixie at Internet Archive\n \n\nAmerican comedy webcomics\nStudio Foglio titles\nWebcomics about fandom\nWebcomics from print"
] |
[
"Stephen Hillenburg",
"Early career",
"What did he start his career in?",
"park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children.",
"What subject did he teach when he became a teacher?",
"marine-biology teacher",
"Did he teach any other subjects alone the years?",
"tide-pool ecology, nautical history, diversity and adaptation.",
"Between those years did he come up with Sponge bob?",
"I don't know.",
"What year was he teaching or start?",
"1984,",
"What was the name of the school he was teaching at?",
"Orange County Marine Institute",
"What other jobs did he have in his early career?",
"He created a comic called The Intertidal Zone,",
"Does it state what the comic was about?",
"featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob"
] |
C_6201d5b174b24dec99fc9ee08806de24_1
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How did he come up with the idea of comics and/or Sponge-bob?
| 9 |
How did Stephen Hillenburg come up with the idea of comics and/or Sponge-bob?
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Stephen Hillenburg
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After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California that is dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession. While working there, he was asked by one of the educational directors if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters--including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but was turned down by the publishers that he approached. At one point during his tenure with the Orange County Marine Institute, Hillenburg started going to animation festivals such as the International Tournee of Animation and Spike and Mike's Festival of Animation where, at one of those, films made by California Institute of the Arts (colloquially called CalArts) students were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator. In 1989, Hillenburg enrolled in the Experimental Animation Program at CalArts. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considers his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. CANNOTANSWER
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he was asked by one of the educational directors if he would be interested in creating an educational comic book
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Stephen McDannell Hillenburg (August 21, 1961 – November 26, 2018) was an American animator, writer, producer, and marine science educator. Hillenburg created the Nickelodeon animated television series SpongeBob SquarePants, on which he served as the showrunner for the first three seasons of the show, and has become the fifth-longest-running American animated series.
Born in Lawton, Oklahoma, and raised in Anaheim, California, Hillenburg became fascinated with the ocean as a child and developed an interest in art. He started his professional career in 1984, instructing marine biology, at the Orange County Marine Institute, where he wrote The Intertidal Zone, an informative picture book about tide-pool animals, which he used to educate his students. In 1989, two years after leaving teaching, Hillenburg enrolled at the California Institute of the Arts to pursue a career in animation. He was later offered a job on the Nickelodeon animated television series Rocko's Modern Life (19931996) after his success with The Green Beret and Wormholes (both 1992), short films that he made while studying animation.
In 1994, Hillenburg began developing The Intertidal Zone characters and concepts for what became SpongeBob SquarePants. The show has aired continuously since its premiere in 1999. He also directed The SpongeBob SquarePants Movie (2004), which he originally intended to be the series finale. Hillenburg resigned as showrunner, but Nickelodeon continued to produce more episodes after he departed the series. He resumed making short films, with Hollywood Blvd., USA in 2013, but continued to be credited as an executive producer for SpongeBob SquarePants. Hillenburg co-wrote the story for the second film adaptation of the series, The SpongeBob Movie: Sponge Out of Water, which was released in 2015.
Besides his two Emmy Awards and six Annie Awards for SpongeBob SquarePants, Hillenburg also received other recognition, such as an accolade from Heal the Bay for his efforts on elevating marine life awareness, and the Television Animation Award from the National Cartoonists Society. Hillenburg announced he was diagnosed with amyotrophic lateral sclerosis (ALS) in 2017, but stated he would continue to work on SpongeBob SquarePants as long as possible. He died on November 26, 2018, at the age of 57.
Early life and education
Stephen McDannell Hillenburg was born on August21, 1961 at Fort Sill, a United States Army post in Lawton, Oklahoma, where his father, Kelly N. Hillenburg Jr., worked for the U.S. military. His mother, Nancy (née Dufour), taught visually impaired students. When he was a year old, the family moved to Orange County, California, where his father began a career as a draftsman and designer in the aerospace industry. His younger brother, Bryan, eventually became a draftsman/designer as well.
When an interviewer asked Hillenburg to describe himself as a child, he replied that he was "probably well-meaning and naive like all kids." His passion for sea life can be traced to his childhood, when films by French oceanographer Jacques Cousteau made a strong impression on him. Hillenburg said that Cousteau "provided a view into that world", which he had not known existed. He liked to explore tide pools as a child, bringing home objects that "should have been left there and that ended up dying and smelling really bad."
Hillenburg also developed his interest in art at a young age. His first drawing was of an orange slice. An illustration which he drew in third grade, depicting "a bunch of army men... kissing and hugging instead of fighting", brought him the first praise for his artwork, when his teacher commended it. "Of course, this is 1970... She liked it because, I mean, obviously that was in the middle of [the Vietnam War]. She was, I would imagine, not a hundred percent for the war like a lot of people then. ...I had no idea about the implications, really, because I just thought it was a funny idea. I remember that still, that moment when she said, 'oh my gosh, look at that'", Hillenburg elaborated. It was then when he knew he "had some [creative] skill". He asserted that his artistry came from his mother's side, despite his father being a draftsman, noting that his maternal grandmother was "really, really gifted" and a "great painter". In the 1970s, someone took Hillenburg to the International Tournée of Animation at the Los Angeles County Museum of Art. He was "knocked out" by the foreign animated films, including Dutch animator Paul Driessen's The Killing of an Egg (1977). "That was the film that I thought was uniquely strange and that lodged itself in my head early on," he recounted.
He attended Savanna High School in Anaheim, describing himself as a "band geek" who played the trumpet. At age 15, he snorkeled for the first time; Hillenburg took part in a "dive program" at Woods Coves in Laguna Beach, as part of the Regional Occupational Program at Savanna. This experience, as well as subsequent dives, reinforced his interest in, and led to his decision to study, marine biology in college: "The switch clicked and I decided I wanted to be a marine biologist, but I also liked being an artist." Some of his high-school teachers, who knew of his interest in art and fascination with the ocean, advised him otherwise, saying: "You should just draw fish." However, the idea of drawing fish seemed boring to him and he was more riveted by "making weird, little paintings". During a few summers after finishing high school, he worked as a fry cook and lobster boiler at a fast-food seafood restaurant in Maine. (This later inspired SpongeBob SquarePants' occupation in the television series, which he would begin developing in 1994.)
Hillenburg went to Humboldt State University in Arcata, California as a marine-science major. He minored in art, and claimed that "[he] blossomed as a painter in Humboldt." In 1984, he earned his bachelor's degree in natural-resource planning and interpretation, with an emphasis on marine resources. He intended to take a master's degree, but said it would be in art: "Initially I think I assumed that if I went to school for art I would never have any way of making a living, so I thought it might be smarter to keep art my passion and hobby and study something else. But by the time I got to the end of my undergrad work, I realized I should be in art."
Early career
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California, dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession.
While working there, one of the educational directors asked him if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters—including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but the publishers he approached turned him down.
During this time, Hillenburg also started going to animation festivals such as the International Tournée of Animation and Spike and Mike's Festival of Animation where films made by students from the California Institute of the Arts (colloquially called CalArts) were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.
Hillenburg enrolled in CalArts' Experimental Animation Program in 1989. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considered his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. During his time at CalArts, he briefly drew comics for the surfing magazine KEMA in 1990.
Animation career
Early works
Hillenburg made his first animated works, short films The Green Beret (1991) and Wormholes (1992), while at CalArts. The Green Beret was about a physically challenged Girl Scout with enormous fists who toppled houses and destroyed neighborhoods while trying to sell Girl Scout cookies. Wormholes was his seven-minute thesis film, about the theory of relativity. He described the latter as "a poetic animated film based on relativistic phenomena" in his grant proposal in 1991 to the Princess Grace Foundation, which assists emerging artists in American theater, dance, and film. The foundation agreed to fund the effort, providing Hillenburg with a Graduate Film Scholarship. "It meant a lot. They funded one of the projects I'm most proud of, even with SpongeBob. It provided me the opportunity just to make a film that was personal, and what I would call independent, and free of some of the commercial needs," he said in 2003. Wormholes was shown at several international animation festivals, including: the Annecy International Animated Film Festival; the Hiroshima International Animation Festival; the Los Angeles International Animation Celebration; the International Short Film Festival Oberhausen; and the Ottawa International Animation Festival, where it won Best Concept. LA Weekly labeled the film "road-trippy" and "Zap-comical", while Manohla Dargis of The New York Times opined that it was inventive.
Hillenburg explained that "anything goes" in experimental animation. Although this allowed him to explore alternatives to conventional methods of filmmaking, he still ventured to employ "an industry style"; he preferred to traditionally animate his films (where each frame is drawn by hand) rather than, for instance, make cartoons "out of sand by filming piles of sand changing". Hillenburg had at least one other short film that he made as an animation student but its title is unspecified.
Rocko's Modern Life
Hillenburg's first professional job in the animation business was as a director on Rocko's Modern Life (19931996), Nickelodeon's first in-house cartoon production. He "ended up finding work in the industry and got a job" at the television network after he met the show's creator, Joe Murray, at the 1992 Ottawa International Animation Festival, where Wormholes and Murray's My Dog Zero were both in competition. Murray, who was looking for people to direct Rocko's Modern Life at the time, saw Hillenburg's film and offered him a directorial role on the television series. He "[had] friends that [gave him] a hard time about [the offer]. ... but doors opened when [he] stepped into the animation world," so he accepted it. He "was planning on being a starving artist": "[I spent] several thousand dollars to make a film and [realized] I may not make it backI had loans out. Fortunately, Joe Murray saw my film... and he took a huge chance," Hillenburg related.
Hillenburg worked closely with Murray on Rocko's Modern Life for its whole run on the air. Aside from directing, he also produced, wrote and storyboarded for some episodes, and served as the executive story editor. In 1995, during the show's fourth and final season, he was promoted to creative director, where he helped oversee pre- and post-production. Working on the series enabled him to repay his loans. He later related that he "learned a great deal about writing and producing animation for TV" from his stint on Rocko's Modern Life.
SpongeBob SquarePants
Creation
Some evidence shows that the idea for SpongeBob SquarePants dates back to 1986, during Hillenburg's time at the Orange County Marine Institute. He indicated that children's television series such as The New Adventures of Mighty Mouse (19871988) and Pee-wee's Playhouse (19861991) "sparked something in [him]." He continued, "I don't know if this is true for everybody else, but it always seems like, for me, I'll start thinking about something and it takes about ten years to actually have it happen, or have someone else believe in it... It took me a few years to get [SpongeBob SquarePants] together."
During the production of Rocko's Modern Life, Martin Olson, one of the writers, read The Intertidal Zone and encouraged Hillenburg to create a television series with a similar concept. At that point, he had not even considered creating his own series: "After watching Joe [Murray] tear his hair out a lot, dealing with all the problems that came up, I thought I would never want to produce a show of my own." However, he realized that if he ever did, this would be the best approach: "For all those years it seemed like I was doing these two totally separate things. I wondered what it all meant. I didn't see a synthesis. It was great when [my two interests] all came together in [a show]. I felt relieved that I hadn't wasted a lot of time doing something that I then abandoned to do something else. It has been pretty rewarding," Hillenburg said in 2002. He claimed that he finally decided to create a series as he was driving to the beach on the Santa Monica Freeway one day.
As he was developing the show's concept, Hillenburg remembered his teaching experience at the Orange County Marine Institute and how mesmerized children were by tide-pool animals, including crabs, octopuses, starfish, and sponges. It came to him that the series should take place underwater, with a focus on those creatures: "I wanted to create a small town underwater where the characters were more like us than like fish. They have fire. They take walks. They drive. They have pets and holidays." It suited what Hillenburg liked for a show, "something that was fantastic but believable." He also wanted his series to stand out from most popular cartoons of the time exemplified by buddy comedies such as The Ren & Stimpy Show (19911995). As a result, he decided to focus on one main character: the weirdest sea creature that he could think of. This led him to the sponge: "I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one." In 1994, Hillenburg began to further develop some characters from The Intertidal Zone, including Bob the Sponge.
Bob the Sponge is the comic's "announcer". He resembles an actual sea sponge, and at first Hillenburg continued this design because it "was the correct thing to do biologically as a marine-science teacher." In determining the new character's personality, he drew inspiration from innocent, childlike figures that he enjoyed, such as Charlie Chaplin, Laurel and Hardy, Jerry Lewis, Pee-wee Herman, Abbott and Costello, and The Three Stooges. He then considered modeling the character after a kitchen sponge, and realized that this idea would match the character's square personality perfectly: "[I]t looked so funny. I think as far as cartoon language goes he was easier to recognize. He seemed to fit the character type I was looking fora somewhat nerdy, squeaky clean oddball." To voice the central character of the series, Hillenburg turned to Tom Kenny, whose career in animation had begun with his on Rocko's Modern Life. Elements of Kenny's own personality were employed in further developing the character.
While pitching the cartoon to executives at Nickelodeon, Hillenburg donned a Hawaiian shirt, brought along an "underwater terrarium with models of the characters", and played Hawaiian music to set the theme. Nickelodeon executive Eric Coleman described the setup as "pretty amazing". Although Derek Drymon, creative director of SpongeBob SquarePants, described the pitch as stressful, he said it went "very well". Nickelodeon approved and gave Hillenburg money to produce the show.
Broadcast
SpongeBob SquarePants was Nickelodeon's first original Saturday-morning cartoon. It first aired as a preview on May 1, 1999, and officially premiered on July 17 of the same year. Hillenburg noted that the show's premise "is that innocence prevailswhich I don't think it always does in real life." It has received positive reviews from critics, and has been noted for its appeal to different age groups. James Poniewozik of Time magazine described the titular character as "the anti-Bart Simpson, temperamentally and physically: his head is as squared-off and neat as Bart's is unruly, and he has a personality to matchconscientious, optimistic and blind to the faults in the world and those around him." On the other hand, The New York Times critic Joyce Millman said that the show "is clever without being impenetrable to young viewers and goofy without boring grown-ups to tears. It's the most charming toon on television, and one of the weirdest. ...Like Pee-wee's Playhouse, SpongeBob joyfully dances on the fine line between childhood and adulthood, guilelessness and camp, the warped and the sweet."
SpongeBob SquarePants was an immediate hit. Within its first month on air, it overtook Pokémon (1997) as the highest-rated Saturday morning children's series. By the end of 2001, the show boasted the highest ratings of any children's series on television. Nickelodeon began adding SpongeBob SquarePants to its Monday-through-Thursday prime-time block. This programming change increased the number of older viewers significantly. By May 2002, the show's total viewership reached more than 61 million, 20 million of which were aged 18 to 49. Hillenburg did not expect the show would be very popular even to adults: "I never imagined that it would get to this point. When you set out to do a show about a sponge, you can't anticipate this kind of craze. We just try to make ourselves laugh, then ask if it's appropriate for children. I can tell you that we hoped it would be liked by adults. But we really thought the best we could hope for was a college audience." SpongeBob SquarePants has gone on to become one of the longest-running series on Nickelodeon. "Ten years. I never imagined working on the show to this date and this long. It never was possible to conceive that. ...I really figured we might get a season and a cult following, and that might be it," Hillenburg said in 2009 during the show's tenth anniversary. Its popularity has made it a media franchise, which is the most-distributed property of MTV Networks. , it has generated $12 billion in merchandising revenue.
Departure
In 2002, Hillenburg halted production of the show after the third season was completed to focus on the making of The SpongeBob SquarePants Movie which was released in 2004: "I don't want to try and do a movie and the series at the same time. We have 60 episodes and that is probably as many as [Nickelodeon] really needs. It is a standard number for a show like this. I have done a little research and people say it is just crazy doing a series and movie at the same time. I would rather concentrate on doing a good job on the movie," he noted. He directed the film from a story that he conceived with five other writer-animators from the series: Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne, and Tim Hill. The writers created a mythical hero's quest: the search for a stolen crown, which brings SpongeBob and his best friend Patrick to the surface. In 2003, during the production of The SpongeBob SquarePants Movie, his mentor Jules Engel died at the age of 94. Hillenburg dedicated the film to his memory. He said that Engel "truly was the most influential artistic person in [his] life." The SpongeBob SquarePants Movie grossed $140 million worldwide, and received positive reviews from critics. The review-aggregator website Rotten Tomatoes rates it 68 percent positive based on 125 reviews, with an average rating of 6.2/10. Its consensus states in summary, "Surreally goofy and entertaining for both children and their parents."
After completing the film, Hillenburg wanted to end the series "so [it] wouldn't jump the shark." "We're working on episodes 40 through 60 right now, and I always looked at that as a typical run for an animated show. [The Ren & Stimpy Show] lasted about that long, for example. And I thought now was a good time to step aside and look at a different project. I personally think it's good not to go to the point where people don't want to see your show anymore," Hillenburg said in 2002. However, Nickelodeon wanted to produce more episodes: "The show was such a cash cow for the station that it couldn't afford not to," storyboard director Sam Henderson observed. Initially Hillenburg doubted that the network would continue the show without him, saying: "I think [Nickelodeon executives] respect that my contribution is important. I think they would want to maintain the original concept and quality." Consequently, he resigned as the showrunner and appointed his trusted staff member Paul Tibbitt to the role. Although he no longer had a direct involvement producing SpongeBob SquarePants, he retained his position as an executive producer and maintained an advisory role, reviewing each episode. Tibbitt started out as a supervising producer but rose up to executive producer when Hillenburg went into semi-retirement in 2004. While he was on the show, he voiced Potty the Parrot and sat in with Derek Drymon at the record studio to direct the voice actors while they were recording. During the fourth season, Tibbitt took on voicing for Potty, while Andrea Romano replaced the two as the voice director.
In 2014, Tibbitt announced on his Twitter account that Hillenburg would return to the show. However, he did not specify what position the former showrunner would hold. As early as 2012, Hillenburg had already been contributing to another film based on the series, which was first reported in 2011 and officially announced the following year, with Tibbitt as director. Tibbitt also wrote the story with Hillenburg, who "[had] been in the studio everyday working with [the crew]." Besides writing, Hillenburg also executive-produced. He said in 2014: "Actually when [the film] wraps, I want to get back to the show. ...it is getting harder and harder to come up with stories. So Paul [Tibbitt] and I are really going to brainstorm and come up with fresh material." Called The SpongeBob Movie: Sponge Out of Water, the second film adaptation was released in 2015 to positive critical reception, currently holding a Rotten Tomatoes approval rating of 80 percent and an average rating of 6.5/10. It earned $323.4 million worldwide, becoming the second highest-grossing film based on an animated television show, behind The Simpsons Movie (2007).
Other pursuits
In 1998, Hillenburg formed United Plankton Pictures Inc., a television and film production company, which produces SpongeBob SquarePants and related media. From 2011 to 2018, the company published SpongeBob Comics, a comic-book series based on the cartoon. Hillenburg announced the venture in a 2011 press release, where he said, "I'm hoping that fans will enjoy finally having a SpongeBob comic book from me." Various cartoonists, including James Kochalka, Hilary Barta, Graham Annable, Gregg Schigiel, and Jacob Chabot, have contributed to issues of the comic.
According to Jeff Lenburg, in his book Who's Who in Animated Cartoons, Hillenburg was co-writing and co-directing a second animated feature film based on Rob Zombie's comic-book series, The Haunted World of El Superbeasto, which was slated for a 2006 release. He helped to write Diggs Tailwagger, a 2007 pilot by Derek Drymon. Hillenburg stated in 2009 that he was developing two other television projects that he did not want to discuss.
In 2010, he began working on Hollywood Blvd., USA, a new short film for animation festivals. In making the two-minute film, he videotaped people walking and animated them in walk cycles. Hillenburg said in 2012, "I hope to get [the film] done. It takes forever." He was aiming to finish it that fall. In 2013, three years after production began, Hollywood Blvd., USA was released to festivals. Hillenburg characterized it as a "personal film" and said that "it's not a narrative. It's just really about people in our town."
Personal life
Hillenburg married Karen Umland, a Southern Californian chef who teaches at the New School of Cooking in Culver City, in 1998. Hillenburg deemed her to be the funniest person that he knew, and the character of Karen Plankton was named after her. Also in 1998, the couple's first and only child, son Clay, was born. Hillenburg formerly resided in Hollywood and in Pasadena, and he lived with his family in San Marino, California, until his death. His hobbies included surfing, snorkeling, scuba diving, swimming, and performing "noisy rock music" on his guitar. He jammed with his son, who is a drummer, which Hillenburg called "a great way to bond with each other." He also enjoyed birdwatching at home, but said that he was always "an ocean freak".
He was known informally as "Steve" among his family, friends, and fans. According to his colleagues, Hillenburg was "a perfectionist workaholic". He was also known for his private nature. Julia Pistor, co-producer of The SpongeBob SquarePants Movie, noted that Hillenburg was "very shy". She went on to say, "He doesn't want people to know about his life or family. He's just a really funny, down-to-earth guy with a dry sense of humor who puts his family first and keeps us on our toes in keeping our corporate integrity." Hillenburg said about himself, "I make animation because I like to draw and create things. I have no real interest to be on camera or to be a celebrity. It's not that I don't like people, but I like having my privacy."
Philanthropy
Hillenburg, with his wife Karen, had endowed numerous projects and organizations through the United Plankton Charitable Trust, which the couple established in 2005. The foundation, the name of which was adopted from Hillenburg's United Plankton Pictures, supports areas of the two's personal interest, giving under $500,000 annually . Grantees include large, established arts-related organizations such as the Los Angeles County Museum of Art and the Society for the Activation of Social Space through Art and Sound, in which Karen is co-chair. Health accounts for most of their grantmaking; they had gifted to Planned Parenthood (where Karen is member of the board of directors ) and the National Multiple Sclerosis Society, among other national health organizations.
In education, they donated to schools, including the Polytechnic School in Pasadena (which their son attended), CalArts, and Humboldt State University. Donations to the latter helped fund the HSU Marine Lab and the Stephen Hillenburg Marine Science Research Award Endowment, which the couple created in 2018 to support the university's marine-science research students. The previous year, the Princess Grace Foundation introduced the Stephen Hillenburg Animation Scholarship, an annual grant from the Hillenburgs to emerging animators.
Illness, death and legacy
Hillenburg disclosed to Variety magazine in March 2017 that he had been diagnosed with amyotrophic lateral sclerosis (ALS), a fatal neurodegenerative disease that affects the motor neurons in the brain and spinal cord. He released a statement to the publication, in which he said that he would continue to work on SpongeBob SquarePants "for as long as [he is] able." He added: "My family and I are grateful for the outpouring of love and support. We ask that our sincere request for privacy be honored during this time." Hillenburg was in the early stages of the disease at the time, according to a source close to him. During his last days as executive producer, he had difficulty speaking, and it came to the point where he eventually stopped coming to the office.
Hillenburg died at his home on November 26, 2018, at the age of 57, due to the complications. According to his death certificate, his body was cremated and his ashes were scattered in the Pacific Ocean at least off the coast of California the next day.
During the halftime show for Super Bowl LIII, the performing band Maroon 5 arranged to use a clip from the SpongeBob episode "Band Geeks" (which uses the song "Sweet Victory" as part of a spoof of a football halftime show) during their show as a means to pay tribute to Hillenburg. A full clip of the "Sweet Victory" song, including a dedication to Hillenburg, was played inside Mercedes-Benz Stadium, but not during the game, which angered many fans. The song was later included in a promo for ViacomCBS' Paramount+ streaming service during Super Bowl LV.
The TV special SpongeBob's Big Birthday Blowout and the theatrical film The SpongeBob Movie: Sponge on the Run are dedicated to him and his career.
In 2019, a spin-off of SpongeBob SquarePants began production, featuring younger versions of the characters attending summer camp. Former showrunner Paul Tibbitt stated that Hillenburg would have disliked the idea; he commented, "Steve [Hillenburg] would always say to me, 'You know, one of these days, they're going to want to make SpongeBob Babies. That's when I'm out of here.'" Tibbitt also released a statement stating, "I do not mean any disrespect to my colleagues who are working on this show ... [but] they all know full well Steve would have hated this." The concept of Kamp Koral came from a season 12 meeting in October 2018, a month before Hillenburg died. Hillenburg is credited as the creator of Kamp Koral, and is credited on other spin-offs as the characters' creator.
Awards and honors
In 1992, one of Hillenburg's early works, Wormholes, won for Best Concept at the Ottawa International Animation Festival. For SpongeBob SquarePants, Hillenburg was nominated for 17 Emmy Awards, winning in the categories of Outstanding Special Class Animated Program and Outstanding Sound Editing – Animation in 2010 and 2014, respectively. The show has also received several other awards and nominations, including 17 Annie Award nominations, winning six times, as well as winning two British Academy Children's Awards, out of four nominations. In 2002, SpongeBob SquarePants won its first TCA Award for Outstanding Achievement in Children's Programming nomination.
In 2001, Heal the Bay, an environmental nonprofit organization, honored Hillenburg with its Walk the Talk award. He was recognized for raising public awareness of marine life through SpongeBob SquarePants. The following year, Hillenburg was given the Television Animation Award from the National Cartoonists Society, and the Princess Grace Statue Award from the Princess Grace Foundation. In 2018, Hillenburg received the Winsor McCay Award at the 45th Annie Awards, and a special recognition at the 45th Daytime Emmy Awards "for his contribution and impact made in the animation field and within the broadcast industry."
The marine demosponge species Clathria hillenburgi, known from mangrove habitats off the coast of Paraíba, Brazil, was named in honor of Stephen Hillenburg.
On November 18, 2021, Hillenburg was honored with a bench and historical plaque at his alma mater Savannah High School in Anaheim, California. The project was a collaboration between the Hillenburg family, Anaheim Historical Society, and YouTube personality Griffin Hansen. Karen Hillenburg specifically chose a bright yellow bench that "she thought perfectly captured her husband's warmth and goofiness". The memorial was dedicated one day before Savanna High School's 60th anniversary at a school-wide assembly hosted by Hansen and principal Michael Pooley. The event was attended by Karen and Clay Hillenburg, as well as members of Spongebob Squarepants' cast and crew including Tom Kenny, Jill Talley, Rodger Bumpass, Bill Fagerbakke, Clancy Brown, Mr. Lawrence, Marc Ceccarelli, and Derek Drymon.
Filmography
Film
Television
References
Further reading
External links
Stephen Hillenburg at the Nickelodeon Animation Studio website
1961 births
2018 deaths
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"Shawn McManus (born June 30, 1958) is an American artist who has worked extensively over three decades for DC Comics and other companies, notably for DC's Vertigo imprint including the Fables series.\n\nComics\nBorn in Brookline, Massachusetts, McManus entered the comics field in the early 1980s with work for Heavy Metal and DC Comics. For the June 1983 issue of Heavy Metal he collaborated with Bhob Stewart and John Coffey on \"Zenobia\". Six months later, McManus and Stewart teamed with Jim McDermott on \"Symbiosis\", also in Heavy Metal (December 1983). He drew the Green Arrow backup feature in Detective Comics in 1983-1984. McManus gained wider attention when he illustrated two issues of The Saga of the Swamp Thing written by Alan Moore.\n\nMcManus worked with writer Todd Klein on Omega Men, creating Zirral and other characters for that series. He has drawn issues of Doctor Fate and Batman: Legends of the Dark Knight. He collaborated with Neil Gaiman on the \"Fables & Reflections\" and \"A Game of You\" story arcs in The Sandman. McManus' other Sandman credits include The Sandman Presents: Taller Tales and a pair of limited series about the witch Thessaly written by Bill Willingham. McManus' artwork for Marvel Comics includes Peter Parker: Spider-Man Annual '97 and Daredevil #351. In an interview, John Rozum, who scripted that issue of Daredevil, recalled:\nI thought Shawn McManus's art was great. I'd like to work with him again sometime, though we didn't really work together here. At the time I wrote it, I had no idea who'd be drawing it. Shawn and I have never even met or spoken with each other. I always write full script though, and unlike some other artists, Shawn actually pays attention to the script. I think his artwork was a nice pairing with the story.\n\nMcManus has contributed to titles from a variety of other publishers, including Atomeka Press (A1), Dark Horse Comics (Cheval Noir), Exhibit A Press (Wolff & Byrd: Counselors of the Macabre), First Comics (Grimjack), Image Comics (Supreme), Malibu Comics (The Man Called A-X), and DC Comics' Paradox Press (The Big Book Of Freaks). He worked on Leah Moore and John Reppion's Wild Girl (Wildstorm, 2004–2005) with J. H. Williams III, about 13-year-old Rosa Torez who discovers that she can communicate with animals. In 2007, he did an eight-issue run on Aquaman: Sword of Atlantis and an issue of The Creeper for DC.\n\nHe illustrated Cinderella: From Fabletown with Love in 2010 and Cinderella: Fables Are Forever the following year. He was one of several artists to contribute to the Fairest in All the Land graphic novel.\n\nChildren's art\nWriter-illustrator and lecturer Mark McKenna, creator of the Banana Tail children's book series, described his long association with McManus that led to their Banana Tail: The Early Years (2009) color print:\nI met Shawn McManus in the DC Comics offices back in late 1985. I was up at DC Comics to meet with an editor or show samples, I forget, the old brain is failing me here. But I do recall Shawn sitting in with the editor who I was about to have a meeting with. At the time, Shawn was drawing Swamp Thing, and I was delighted to see his lively, bouncy and very refreshing art style. Little did I know that within a year we would be an art team along with writer J. M. DeMatteis on DC's Doctor Fate series... We worked together for six months on Doctor Fate until the DC editor moved me to another book. I haven't had any creative contact with Shawn since that time in 1987. We really never spoke during the time we worked together. I was still very new to the business and didn't think to call and collaborate with Shawn to get his sensibilities about direction and vision for the book. No contact with Shawn until a few brief comic con \"how ya doing's?\", and an eventual reconnect through our mutual art rep, Bob Shaw... Bob had this idea that Shawn should work with me and create some ultra cool Banana Tail painting... Seeing Bob Shaw's excitement, Shawn then saw the potential in Banana Tail.\n\nTelevision\nIn 1987, McManus worked on the animated series Dinosaucers. For the TV series Tales from the Crypt, McManus and Mike Vosburg illustrated comic book covers designed to look like the original 1950s comics. The McManus Crypt cover is seen in the first episode (\"The Man Who Was Death\").\n\nAwards\n1985 Jack Kirby Award nomination with Alan Moore for Best Single Issue (\"Pog\" in The Saga of the Swamp Thing #32).\n\nComics bibliography\n\nDark Horse Comics\n Cheval Noir #48 (1993)\n\nDC Comics\n\n Aquaman: Sword of Atlantis #50–57 (2007) \n Batman: Legends of the Dark Knight #44–45 (1993) \n Countdown to Mystery #5 (2008)\n Creeper #5 (2007) \n Deadman #7–9 (2002) \n Detective Comics #533–545 (Green Arrow) (1983–1984) \n Doctor Fate #1–11, 13–20, 22–24 (1988–1991)\n Elvira's House of Mystery #1, 4 (1986) \n Green Arrow vol. 2 #51–52 (1991) \n Helmet of Fate: Detective Chimp #1 (2007) \n Legion of Super-Heroes vol. 3 #27 (1986) \n Legion of Super Heroes in the 31st Century #16 (2008) \n Lobo #30, 37 (1996–1997) \n Man Called A-X vol. 2 #1–6 (1997–1998) \n New Talent Showcase #4 (1984) \n Omega Men #25–31, 33, 35, 38, Annual #2 (1985–1986) \n The Saga of the Swamp Thing #28, 32 (1984–1985) \n The Sandman #31–33, 35–37 (1991–1992) \n Shadowpact #8 (2007) \n Swamp Thing #111, 116, Annual #3 (1987–1992) \n Talent Showcase #18 (1985)\n Who's Who in the DC Universe #10 (1991)\n Who's Who: The Definitive Directory of the DC Universe #3, 7, 9–10, 17–18, 20 (1985–1986)\n\nAmerica's Best Comics\n Tom Strong #19, 27 (2003–2004) \n Tom Strong's Terrific Tales #7 (2003)\n\nParadox Press\n The Big Book Of Freaks (1996)\n\nVertigo\n Cinderella: Fables Are Forever #1–6 (2011) \n Cinderella: From Fabletown with Love #1–6 (2010) \n The Dreaming #31, 39, 50 (1998–2000)\n Fables #51, 110–111, 114–124, 144, 147 (2006–2015)\n Fables: The Wolf Among Us #1–2 (2015) \n Fairest #7, 21–26 (2012–2014) \n Fairest in All the Land HC (2014) \n Sandman Presents: The Thessaliad #1–4 (2002) \n Sandman Presents: Thessaly: Witch for Hire #1–4 (2004) \n Unwritten: Tommy Taylor and the Ship That Sank Twice HC (2013) \n Vertigo: Winter's Edge #3 (2000)\n The Witching Hour vol. 3 #1 (2013)\n\nWildstorm\n Wild Girl #1–6 (2005)\n\nHM Communications\n Heavy Metal #v7#9 (1983)\n\nImage Comics\n Deathblow #18 (1995)\n Shadowhawk Gallery #1 (1994)\n Supreme #7–8 (1993)\n\nMalibu Comics\n Man Called A-X #0, #1–4 (1994–1995)\n\nMarvel Comics\n\n Daredevil #351–352 (1996) \n Dream Team #1 (1995)\n Excalibur: XX Crossing #1 (1992) \n Marvel Comics Presents #109–111, 113–118 (1992) \n Namor, the Sub-Mariner #38, 41 (1993) \n Punisher Annual #6 (1993) \n The Punisher War Journal #50 (1993) \n The Sensational Spider-Man '96 #1 (1996) \n Spider-Man Annual '97 #1 (1997) \n Spider-Man Unlimited #10 (1995) \n Ultraforce/Spider-Man #1A (1996) \n Wolverine/Nick Fury: Scorpio Rising #1 (1994)\n\nReferences\n\nExternal links\n \n \n Shawn McManus at Mike's Amazing World of Comics\n Shawn McManus at the Unofficial Handbook of Marvel Comics Creators\n\n1958 births\n20th-century American artists\n21st-century American artists\nAmerican caricaturists\nAmerican cartoonists\nAmerican comics artists\nAmerican illustrators\nDC Comics people\nLiving people\nMarvel Comics people\nPeople from Brookline, Massachusetts",
"Andrew Patalan (born March 14, 1970) is an American musician best known as the guitarist and backing vocalist for the alternative rock band Sponge. He also is a founding member of Solid Frog and Throttlebody. He was also the guitarist for Brownsville Station from 2011–2013. His brother Tim Patalan is the bassist and producer of Sponge. He is the owner of his home studio, ATP Productions in Shelby Township, Michigan, and he is the co-owner of The Loft Recording Studio in Saline, Michigan.\n\nPersonal life\nPatalan grew up on a farm in Saline, Michigan with his brother Tim. One of the barns on this farm was later turned into his recording studio called The Loft Recording Studio, which he is the co-owner of along with his brother, and has been the studio for recording over 500 bands since 1988.\n\nSponge\nPatalan joined Sponge in 2004, after a major line-up change in the band. He and guitarist that was in Patalan's other bands, Kyle Neely joined after former guitarists Joey Mazzola and Kurt Marschke left the band, making singer Vinnie Dombroski the only original member. Although Patalan was new to the guitar role in Sponge, he was very familiar with the band. He was the assistant engineer for the Sponge albums Rotting Piñata (1994), Wax Ecstatic (1996), and New Pop Sunday (1999). His first album with Sponge while playing guitar is the 2005 EP Hard to Keep My Cool. His first studio album with Sponge is The Man from 2005. Patalan's first live album with Sponge was released in 2007, called Alive in Detroit, this was also Sponge's first live album ever. His second studio album with Sponge was the 2007 release Galore Galore. Patalan's second EP with Sponge, Destroy the Boy was released in 2010. In 2013 Sponge participated in the Summerland Tour. This was a tour with Filter, LIVE, and Everclear. On this tour is where the newest Sponge album, Stop the Bleeding was first released on Three One Three Records, the album was only available at Summerland shows. It was later announced that Sponge signed to The End Records to release the album nationally in September 2013.\n\nSolid Frog\nSolid Frog is a Detroit-based grunge band in which Patalan is the lead singer and guitarist of. Two albums have been released by this band, Supercoat (1995) and Pepperspray (1997). They got some airplay on radio stations, especially the song \"Standard Day\". The second album also received some airplay, but not as much as the first one.\n\nBrownsville Station\nPatalan joined the rock band Brownsville Station in 2011. Brownsville Station is most remembered for their 1973 hit single Smokin' in the Boys Room. He briefly played guitar and sang before he left the band in 2013. He recorded one album with the band.\n\nThrottlebody\nThrottlebody is a band made up of three members of Solid Frog. Andy Patalan, Kyle Neely, and Mike Purcell formed Throttlebody and released a self-titled album in 2002.\n\nContributions to other bands\nPatalan has worked with a number of other bands and recording artists. When he is not playing one of the many instruments that he plays (guitar, percussion, bass guitar, piano, or vocals), he often works as a mixer, producer or sound engineer.\n\nActing\nPatalan has appeared as himself on TV shows such as The Late Late Show with Craig Kilborn, The View, The Wayne Brady Show, and Cold Pizza. He also appeared on All My Children performing songs with Bob Guiney. Patalan has also composed music for TV shows and documentaries such as Chasing Jimmy! and Denton Rose's Shorts.\n\nReferences\n\nFurther reading\n\nExternal links\n The Loft Recording\n \n\n1970 births\nLiving people\nGuitarists from Ohio\nPeople from Lorain, Ohio\nPeople from Saline, Michigan\nMusicians from Michigan\nAmerican male guitarists\n21st-century American guitarists\n21st-century American male musicians"
] |
[
"Stephen Hillenburg",
"Early career",
"What did he start his career in?",
"park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children.",
"What subject did he teach when he became a teacher?",
"marine-biology teacher",
"Did he teach any other subjects alone the years?",
"tide-pool ecology, nautical history, diversity and adaptation.",
"Between those years did he come up with Sponge bob?",
"I don't know.",
"What year was he teaching or start?",
"1984,",
"What was the name of the school he was teaching at?",
"Orange County Marine Institute",
"What other jobs did he have in his early career?",
"He created a comic called The Intertidal Zone,",
"Does it state what the comic was about?",
"featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob",
"How did he come up with the idea of comics and/or Sponge-bob?",
"he was asked by one of the educational directors if he would be interested in creating an educational comic book"
] |
C_6201d5b174b24dec99fc9ee08806de24_1
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Did he come up with the ideas of how Spongebob was going to look?
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Did Stephen Hillenburg come up with the ideas of how Spongebob was going to look when creating The Intertidal Zone?
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Stephen Hillenburg
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After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California that is dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession. While working there, he was asked by one of the educational directors if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters--including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but was turned down by the publishers that he approached. At one point during his tenure with the Orange County Marine Institute, Hillenburg started going to animation festivals such as the International Tournee of Animation and Spike and Mike's Festival of Animation where, at one of those, films made by California Institute of the Arts (colloquially called CalArts) students were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator. In 1989, Hillenburg enrolled in the Experimental Animation Program at CalArts. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considers his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. CANNOTANSWER
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comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge.
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Stephen McDannell Hillenburg (August 21, 1961 – November 26, 2018) was an American animator, writer, producer, and marine science educator. Hillenburg created the Nickelodeon animated television series SpongeBob SquarePants, on which he served as the showrunner for the first three seasons of the show, and has become the fifth-longest-running American animated series.
Born in Lawton, Oklahoma, and raised in Anaheim, California, Hillenburg became fascinated with the ocean as a child and developed an interest in art. He started his professional career in 1984, instructing marine biology, at the Orange County Marine Institute, where he wrote The Intertidal Zone, an informative picture book about tide-pool animals, which he used to educate his students. In 1989, two years after leaving teaching, Hillenburg enrolled at the California Institute of the Arts to pursue a career in animation. He was later offered a job on the Nickelodeon animated television series Rocko's Modern Life (19931996) after his success with The Green Beret and Wormholes (both 1992), short films that he made while studying animation.
In 1994, Hillenburg began developing The Intertidal Zone characters and concepts for what became SpongeBob SquarePants. The show has aired continuously since its premiere in 1999. He also directed The SpongeBob SquarePants Movie (2004), which he originally intended to be the series finale. Hillenburg resigned as showrunner, but Nickelodeon continued to produce more episodes after he departed the series. He resumed making short films, with Hollywood Blvd., USA in 2013, but continued to be credited as an executive producer for SpongeBob SquarePants. Hillenburg co-wrote the story for the second film adaptation of the series, The SpongeBob Movie: Sponge Out of Water, which was released in 2015.
Besides his two Emmy Awards and six Annie Awards for SpongeBob SquarePants, Hillenburg also received other recognition, such as an accolade from Heal the Bay for his efforts on elevating marine life awareness, and the Television Animation Award from the National Cartoonists Society. Hillenburg announced he was diagnosed with amyotrophic lateral sclerosis (ALS) in 2017, but stated he would continue to work on SpongeBob SquarePants as long as possible. He died on November 26, 2018, at the age of 57.
Early life and education
Stephen McDannell Hillenburg was born on August21, 1961 at Fort Sill, a United States Army post in Lawton, Oklahoma, where his father, Kelly N. Hillenburg Jr., worked for the U.S. military. His mother, Nancy (née Dufour), taught visually impaired students. When he was a year old, the family moved to Orange County, California, where his father began a career as a draftsman and designer in the aerospace industry. His younger brother, Bryan, eventually became a draftsman/designer as well.
When an interviewer asked Hillenburg to describe himself as a child, he replied that he was "probably well-meaning and naive like all kids." His passion for sea life can be traced to his childhood, when films by French oceanographer Jacques Cousteau made a strong impression on him. Hillenburg said that Cousteau "provided a view into that world", which he had not known existed. He liked to explore tide pools as a child, bringing home objects that "should have been left there and that ended up dying and smelling really bad."
Hillenburg also developed his interest in art at a young age. His first drawing was of an orange slice. An illustration which he drew in third grade, depicting "a bunch of army men... kissing and hugging instead of fighting", brought him the first praise for his artwork, when his teacher commended it. "Of course, this is 1970... She liked it because, I mean, obviously that was in the middle of [the Vietnam War]. She was, I would imagine, not a hundred percent for the war like a lot of people then. ...I had no idea about the implications, really, because I just thought it was a funny idea. I remember that still, that moment when she said, 'oh my gosh, look at that'", Hillenburg elaborated. It was then when he knew he "had some [creative] skill". He asserted that his artistry came from his mother's side, despite his father being a draftsman, noting that his maternal grandmother was "really, really gifted" and a "great painter". In the 1970s, someone took Hillenburg to the International Tournée of Animation at the Los Angeles County Museum of Art. He was "knocked out" by the foreign animated films, including Dutch animator Paul Driessen's The Killing of an Egg (1977). "That was the film that I thought was uniquely strange and that lodged itself in my head early on," he recounted.
He attended Savanna High School in Anaheim, describing himself as a "band geek" who played the trumpet. At age 15, he snorkeled for the first time; Hillenburg took part in a "dive program" at Woods Coves in Laguna Beach, as part of the Regional Occupational Program at Savanna. This experience, as well as subsequent dives, reinforced his interest in, and led to his decision to study, marine biology in college: "The switch clicked and I decided I wanted to be a marine biologist, but I also liked being an artist." Some of his high-school teachers, who knew of his interest in art and fascination with the ocean, advised him otherwise, saying: "You should just draw fish." However, the idea of drawing fish seemed boring to him and he was more riveted by "making weird, little paintings". During a few summers after finishing high school, he worked as a fry cook and lobster boiler at a fast-food seafood restaurant in Maine. (This later inspired SpongeBob SquarePants' occupation in the television series, which he would begin developing in 1994.)
Hillenburg went to Humboldt State University in Arcata, California as a marine-science major. He minored in art, and claimed that "[he] blossomed as a painter in Humboldt." In 1984, he earned his bachelor's degree in natural-resource planning and interpretation, with an emphasis on marine resources. He intended to take a master's degree, but said it would be in art: "Initially I think I assumed that if I went to school for art I would never have any way of making a living, so I thought it might be smarter to keep art my passion and hobby and study something else. But by the time I got to the end of my undergrad work, I realized I should be in art."
Early career
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California, dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession.
While working there, one of the educational directors asked him if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters—including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but the publishers he approached turned him down.
During this time, Hillenburg also started going to animation festivals such as the International Tournée of Animation and Spike and Mike's Festival of Animation where films made by students from the California Institute of the Arts (colloquially called CalArts) were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.
Hillenburg enrolled in CalArts' Experimental Animation Program in 1989. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considered his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. During his time at CalArts, he briefly drew comics for the surfing magazine KEMA in 1990.
Animation career
Early works
Hillenburg made his first animated works, short films The Green Beret (1991) and Wormholes (1992), while at CalArts. The Green Beret was about a physically challenged Girl Scout with enormous fists who toppled houses and destroyed neighborhoods while trying to sell Girl Scout cookies. Wormholes was his seven-minute thesis film, about the theory of relativity. He described the latter as "a poetic animated film based on relativistic phenomena" in his grant proposal in 1991 to the Princess Grace Foundation, which assists emerging artists in American theater, dance, and film. The foundation agreed to fund the effort, providing Hillenburg with a Graduate Film Scholarship. "It meant a lot. They funded one of the projects I'm most proud of, even with SpongeBob. It provided me the opportunity just to make a film that was personal, and what I would call independent, and free of some of the commercial needs," he said in 2003. Wormholes was shown at several international animation festivals, including: the Annecy International Animated Film Festival; the Hiroshima International Animation Festival; the Los Angeles International Animation Celebration; the International Short Film Festival Oberhausen; and the Ottawa International Animation Festival, where it won Best Concept. LA Weekly labeled the film "road-trippy" and "Zap-comical", while Manohla Dargis of The New York Times opined that it was inventive.
Hillenburg explained that "anything goes" in experimental animation. Although this allowed him to explore alternatives to conventional methods of filmmaking, he still ventured to employ "an industry style"; he preferred to traditionally animate his films (where each frame is drawn by hand) rather than, for instance, make cartoons "out of sand by filming piles of sand changing". Hillenburg had at least one other short film that he made as an animation student but its title is unspecified.
Rocko's Modern Life
Hillenburg's first professional job in the animation business was as a director on Rocko's Modern Life (19931996), Nickelodeon's first in-house cartoon production. He "ended up finding work in the industry and got a job" at the television network after he met the show's creator, Joe Murray, at the 1992 Ottawa International Animation Festival, where Wormholes and Murray's My Dog Zero were both in competition. Murray, who was looking for people to direct Rocko's Modern Life at the time, saw Hillenburg's film and offered him a directorial role on the television series. He "[had] friends that [gave him] a hard time about [the offer]. ... but doors opened when [he] stepped into the animation world," so he accepted it. He "was planning on being a starving artist": "[I spent] several thousand dollars to make a film and [realized] I may not make it backI had loans out. Fortunately, Joe Murray saw my film... and he took a huge chance," Hillenburg related.
Hillenburg worked closely with Murray on Rocko's Modern Life for its whole run on the air. Aside from directing, he also produced, wrote and storyboarded for some episodes, and served as the executive story editor. In 1995, during the show's fourth and final season, he was promoted to creative director, where he helped oversee pre- and post-production. Working on the series enabled him to repay his loans. He later related that he "learned a great deal about writing and producing animation for TV" from his stint on Rocko's Modern Life.
SpongeBob SquarePants
Creation
Some evidence shows that the idea for SpongeBob SquarePants dates back to 1986, during Hillenburg's time at the Orange County Marine Institute. He indicated that children's television series such as The New Adventures of Mighty Mouse (19871988) and Pee-wee's Playhouse (19861991) "sparked something in [him]." He continued, "I don't know if this is true for everybody else, but it always seems like, for me, I'll start thinking about something and it takes about ten years to actually have it happen, or have someone else believe in it... It took me a few years to get [SpongeBob SquarePants] together."
During the production of Rocko's Modern Life, Martin Olson, one of the writers, read The Intertidal Zone and encouraged Hillenburg to create a television series with a similar concept. At that point, he had not even considered creating his own series: "After watching Joe [Murray] tear his hair out a lot, dealing with all the problems that came up, I thought I would never want to produce a show of my own." However, he realized that if he ever did, this would be the best approach: "For all those years it seemed like I was doing these two totally separate things. I wondered what it all meant. I didn't see a synthesis. It was great when [my two interests] all came together in [a show]. I felt relieved that I hadn't wasted a lot of time doing something that I then abandoned to do something else. It has been pretty rewarding," Hillenburg said in 2002. He claimed that he finally decided to create a series as he was driving to the beach on the Santa Monica Freeway one day.
As he was developing the show's concept, Hillenburg remembered his teaching experience at the Orange County Marine Institute and how mesmerized children were by tide-pool animals, including crabs, octopuses, starfish, and sponges. It came to him that the series should take place underwater, with a focus on those creatures: "I wanted to create a small town underwater where the characters were more like us than like fish. They have fire. They take walks. They drive. They have pets and holidays." It suited what Hillenburg liked for a show, "something that was fantastic but believable." He also wanted his series to stand out from most popular cartoons of the time exemplified by buddy comedies such as The Ren & Stimpy Show (19911995). As a result, he decided to focus on one main character: the weirdest sea creature that he could think of. This led him to the sponge: "I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one." In 1994, Hillenburg began to further develop some characters from The Intertidal Zone, including Bob the Sponge.
Bob the Sponge is the comic's "announcer". He resembles an actual sea sponge, and at first Hillenburg continued this design because it "was the correct thing to do biologically as a marine-science teacher." In determining the new character's personality, he drew inspiration from innocent, childlike figures that he enjoyed, such as Charlie Chaplin, Laurel and Hardy, Jerry Lewis, Pee-wee Herman, Abbott and Costello, and The Three Stooges. He then considered modeling the character after a kitchen sponge, and realized that this idea would match the character's square personality perfectly: "[I]t looked so funny. I think as far as cartoon language goes he was easier to recognize. He seemed to fit the character type I was looking fora somewhat nerdy, squeaky clean oddball." To voice the central character of the series, Hillenburg turned to Tom Kenny, whose career in animation had begun with his on Rocko's Modern Life. Elements of Kenny's own personality were employed in further developing the character.
While pitching the cartoon to executives at Nickelodeon, Hillenburg donned a Hawaiian shirt, brought along an "underwater terrarium with models of the characters", and played Hawaiian music to set the theme. Nickelodeon executive Eric Coleman described the setup as "pretty amazing". Although Derek Drymon, creative director of SpongeBob SquarePants, described the pitch as stressful, he said it went "very well". Nickelodeon approved and gave Hillenburg money to produce the show.
Broadcast
SpongeBob SquarePants was Nickelodeon's first original Saturday-morning cartoon. It first aired as a preview on May 1, 1999, and officially premiered on July 17 of the same year. Hillenburg noted that the show's premise "is that innocence prevailswhich I don't think it always does in real life." It has received positive reviews from critics, and has been noted for its appeal to different age groups. James Poniewozik of Time magazine described the titular character as "the anti-Bart Simpson, temperamentally and physically: his head is as squared-off and neat as Bart's is unruly, and he has a personality to matchconscientious, optimistic and blind to the faults in the world and those around him." On the other hand, The New York Times critic Joyce Millman said that the show "is clever without being impenetrable to young viewers and goofy without boring grown-ups to tears. It's the most charming toon on television, and one of the weirdest. ...Like Pee-wee's Playhouse, SpongeBob joyfully dances on the fine line between childhood and adulthood, guilelessness and camp, the warped and the sweet."
SpongeBob SquarePants was an immediate hit. Within its first month on air, it overtook Pokémon (1997) as the highest-rated Saturday morning children's series. By the end of 2001, the show boasted the highest ratings of any children's series on television. Nickelodeon began adding SpongeBob SquarePants to its Monday-through-Thursday prime-time block. This programming change increased the number of older viewers significantly. By May 2002, the show's total viewership reached more than 61 million, 20 million of which were aged 18 to 49. Hillenburg did not expect the show would be very popular even to adults: "I never imagined that it would get to this point. When you set out to do a show about a sponge, you can't anticipate this kind of craze. We just try to make ourselves laugh, then ask if it's appropriate for children. I can tell you that we hoped it would be liked by adults. But we really thought the best we could hope for was a college audience." SpongeBob SquarePants has gone on to become one of the longest-running series on Nickelodeon. "Ten years. I never imagined working on the show to this date and this long. It never was possible to conceive that. ...I really figured we might get a season and a cult following, and that might be it," Hillenburg said in 2009 during the show's tenth anniversary. Its popularity has made it a media franchise, which is the most-distributed property of MTV Networks. , it has generated $12 billion in merchandising revenue.
Departure
In 2002, Hillenburg halted production of the show after the third season was completed to focus on the making of The SpongeBob SquarePants Movie which was released in 2004: "I don't want to try and do a movie and the series at the same time. We have 60 episodes and that is probably as many as [Nickelodeon] really needs. It is a standard number for a show like this. I have done a little research and people say it is just crazy doing a series and movie at the same time. I would rather concentrate on doing a good job on the movie," he noted. He directed the film from a story that he conceived with five other writer-animators from the series: Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne, and Tim Hill. The writers created a mythical hero's quest: the search for a stolen crown, which brings SpongeBob and his best friend Patrick to the surface. In 2003, during the production of The SpongeBob SquarePants Movie, his mentor Jules Engel died at the age of 94. Hillenburg dedicated the film to his memory. He said that Engel "truly was the most influential artistic person in [his] life." The SpongeBob SquarePants Movie grossed $140 million worldwide, and received positive reviews from critics. The review-aggregator website Rotten Tomatoes rates it 68 percent positive based on 125 reviews, with an average rating of 6.2/10. Its consensus states in summary, "Surreally goofy and entertaining for both children and their parents."
After completing the film, Hillenburg wanted to end the series "so [it] wouldn't jump the shark." "We're working on episodes 40 through 60 right now, and I always looked at that as a typical run for an animated show. [The Ren & Stimpy Show] lasted about that long, for example. And I thought now was a good time to step aside and look at a different project. I personally think it's good not to go to the point where people don't want to see your show anymore," Hillenburg said in 2002. However, Nickelodeon wanted to produce more episodes: "The show was such a cash cow for the station that it couldn't afford not to," storyboard director Sam Henderson observed. Initially Hillenburg doubted that the network would continue the show without him, saying: "I think [Nickelodeon executives] respect that my contribution is important. I think they would want to maintain the original concept and quality." Consequently, he resigned as the showrunner and appointed his trusted staff member Paul Tibbitt to the role. Although he no longer had a direct involvement producing SpongeBob SquarePants, he retained his position as an executive producer and maintained an advisory role, reviewing each episode. Tibbitt started out as a supervising producer but rose up to executive producer when Hillenburg went into semi-retirement in 2004. While he was on the show, he voiced Potty the Parrot and sat in with Derek Drymon at the record studio to direct the voice actors while they were recording. During the fourth season, Tibbitt took on voicing for Potty, while Andrea Romano replaced the two as the voice director.
In 2014, Tibbitt announced on his Twitter account that Hillenburg would return to the show. However, he did not specify what position the former showrunner would hold. As early as 2012, Hillenburg had already been contributing to another film based on the series, which was first reported in 2011 and officially announced the following year, with Tibbitt as director. Tibbitt also wrote the story with Hillenburg, who "[had] been in the studio everyday working with [the crew]." Besides writing, Hillenburg also executive-produced. He said in 2014: "Actually when [the film] wraps, I want to get back to the show. ...it is getting harder and harder to come up with stories. So Paul [Tibbitt] and I are really going to brainstorm and come up with fresh material." Called The SpongeBob Movie: Sponge Out of Water, the second film adaptation was released in 2015 to positive critical reception, currently holding a Rotten Tomatoes approval rating of 80 percent and an average rating of 6.5/10. It earned $323.4 million worldwide, becoming the second highest-grossing film based on an animated television show, behind The Simpsons Movie (2007).
Other pursuits
In 1998, Hillenburg formed United Plankton Pictures Inc., a television and film production company, which produces SpongeBob SquarePants and related media. From 2011 to 2018, the company published SpongeBob Comics, a comic-book series based on the cartoon. Hillenburg announced the venture in a 2011 press release, where he said, "I'm hoping that fans will enjoy finally having a SpongeBob comic book from me." Various cartoonists, including James Kochalka, Hilary Barta, Graham Annable, Gregg Schigiel, and Jacob Chabot, have contributed to issues of the comic.
According to Jeff Lenburg, in his book Who's Who in Animated Cartoons, Hillenburg was co-writing and co-directing a second animated feature film based on Rob Zombie's comic-book series, The Haunted World of El Superbeasto, which was slated for a 2006 release. He helped to write Diggs Tailwagger, a 2007 pilot by Derek Drymon. Hillenburg stated in 2009 that he was developing two other television projects that he did not want to discuss.
In 2010, he began working on Hollywood Blvd., USA, a new short film for animation festivals. In making the two-minute film, he videotaped people walking and animated them in walk cycles. Hillenburg said in 2012, "I hope to get [the film] done. It takes forever." He was aiming to finish it that fall. In 2013, three years after production began, Hollywood Blvd., USA was released to festivals. Hillenburg characterized it as a "personal film" and said that "it's not a narrative. It's just really about people in our town."
Personal life
Hillenburg married Karen Umland, a Southern Californian chef who teaches at the New School of Cooking in Culver City, in 1998. Hillenburg deemed her to be the funniest person that he knew, and the character of Karen Plankton was named after her. Also in 1998, the couple's first and only child, son Clay, was born. Hillenburg formerly resided in Hollywood and in Pasadena, and he lived with his family in San Marino, California, until his death. His hobbies included surfing, snorkeling, scuba diving, swimming, and performing "noisy rock music" on his guitar. He jammed with his son, who is a drummer, which Hillenburg called "a great way to bond with each other." He also enjoyed birdwatching at home, but said that he was always "an ocean freak".
He was known informally as "Steve" among his family, friends, and fans. According to his colleagues, Hillenburg was "a perfectionist workaholic". He was also known for his private nature. Julia Pistor, co-producer of The SpongeBob SquarePants Movie, noted that Hillenburg was "very shy". She went on to say, "He doesn't want people to know about his life or family. He's just a really funny, down-to-earth guy with a dry sense of humor who puts his family first and keeps us on our toes in keeping our corporate integrity." Hillenburg said about himself, "I make animation because I like to draw and create things. I have no real interest to be on camera or to be a celebrity. It's not that I don't like people, but I like having my privacy."
Philanthropy
Hillenburg, with his wife Karen, had endowed numerous projects and organizations through the United Plankton Charitable Trust, which the couple established in 2005. The foundation, the name of which was adopted from Hillenburg's United Plankton Pictures, supports areas of the two's personal interest, giving under $500,000 annually . Grantees include large, established arts-related organizations such as the Los Angeles County Museum of Art and the Society for the Activation of Social Space through Art and Sound, in which Karen is co-chair. Health accounts for most of their grantmaking; they had gifted to Planned Parenthood (where Karen is member of the board of directors ) and the National Multiple Sclerosis Society, among other national health organizations.
In education, they donated to schools, including the Polytechnic School in Pasadena (which their son attended), CalArts, and Humboldt State University. Donations to the latter helped fund the HSU Marine Lab and the Stephen Hillenburg Marine Science Research Award Endowment, which the couple created in 2018 to support the university's marine-science research students. The previous year, the Princess Grace Foundation introduced the Stephen Hillenburg Animation Scholarship, an annual grant from the Hillenburgs to emerging animators.
Illness, death and legacy
Hillenburg disclosed to Variety magazine in March 2017 that he had been diagnosed with amyotrophic lateral sclerosis (ALS), a fatal neurodegenerative disease that affects the motor neurons in the brain and spinal cord. He released a statement to the publication, in which he said that he would continue to work on SpongeBob SquarePants "for as long as [he is] able." He added: "My family and I are grateful for the outpouring of love and support. We ask that our sincere request for privacy be honored during this time." Hillenburg was in the early stages of the disease at the time, according to a source close to him. During his last days as executive producer, he had difficulty speaking, and it came to the point where he eventually stopped coming to the office.
Hillenburg died at his home on November 26, 2018, at the age of 57, due to the complications. According to his death certificate, his body was cremated and his ashes were scattered in the Pacific Ocean at least off the coast of California the next day.
During the halftime show for Super Bowl LIII, the performing band Maroon 5 arranged to use a clip from the SpongeBob episode "Band Geeks" (which uses the song "Sweet Victory" as part of a spoof of a football halftime show) during their show as a means to pay tribute to Hillenburg. A full clip of the "Sweet Victory" song, including a dedication to Hillenburg, was played inside Mercedes-Benz Stadium, but not during the game, which angered many fans. The song was later included in a promo for ViacomCBS' Paramount+ streaming service during Super Bowl LV.
The TV special SpongeBob's Big Birthday Blowout and the theatrical film The SpongeBob Movie: Sponge on the Run are dedicated to him and his career.
In 2019, a spin-off of SpongeBob SquarePants began production, featuring younger versions of the characters attending summer camp. Former showrunner Paul Tibbitt stated that Hillenburg would have disliked the idea; he commented, "Steve [Hillenburg] would always say to me, 'You know, one of these days, they're going to want to make SpongeBob Babies. That's when I'm out of here.'" Tibbitt also released a statement stating, "I do not mean any disrespect to my colleagues who are working on this show ... [but] they all know full well Steve would have hated this." The concept of Kamp Koral came from a season 12 meeting in October 2018, a month before Hillenburg died. Hillenburg is credited as the creator of Kamp Koral, and is credited on other spin-offs as the characters' creator.
Awards and honors
In 1992, one of Hillenburg's early works, Wormholes, won for Best Concept at the Ottawa International Animation Festival. For SpongeBob SquarePants, Hillenburg was nominated for 17 Emmy Awards, winning in the categories of Outstanding Special Class Animated Program and Outstanding Sound Editing – Animation in 2010 and 2014, respectively. The show has also received several other awards and nominations, including 17 Annie Award nominations, winning six times, as well as winning two British Academy Children's Awards, out of four nominations. In 2002, SpongeBob SquarePants won its first TCA Award for Outstanding Achievement in Children's Programming nomination.
In 2001, Heal the Bay, an environmental nonprofit organization, honored Hillenburg with its Walk the Talk award. He was recognized for raising public awareness of marine life through SpongeBob SquarePants. The following year, Hillenburg was given the Television Animation Award from the National Cartoonists Society, and the Princess Grace Statue Award from the Princess Grace Foundation. In 2018, Hillenburg received the Winsor McCay Award at the 45th Annie Awards, and a special recognition at the 45th Daytime Emmy Awards "for his contribution and impact made in the animation field and within the broadcast industry."
The marine demosponge species Clathria hillenburgi, known from mangrove habitats off the coast of Paraíba, Brazil, was named in honor of Stephen Hillenburg.
On November 18, 2021, Hillenburg was honored with a bench and historical plaque at his alma mater Savannah High School in Anaheim, California. The project was a collaboration between the Hillenburg family, Anaheim Historical Society, and YouTube personality Griffin Hansen. Karen Hillenburg specifically chose a bright yellow bench that "she thought perfectly captured her husband's warmth and goofiness". The memorial was dedicated one day before Savanna High School's 60th anniversary at a school-wide assembly hosted by Hansen and principal Michael Pooley. The event was attended by Karen and Clay Hillenburg, as well as members of Spongebob Squarepants' cast and crew including Tom Kenny, Jill Talley, Rodger Bumpass, Bill Fagerbakke, Clancy Brown, Mr. Lawrence, Marc Ceccarelli, and Derek Drymon.
Filmography
Film
Television
References
Further reading
External links
Stephen Hillenburg at the Nickelodeon Animation Studio website
1961 births
2018 deaths
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[
"\"Christmas Who?\" (also known as \"Patchy The Pirate Presents The SpongeBob Christmas Special\") is the eighth episode in season two of SpongeBob SquarePants and the 28th episode overall, which serves as the first double-length episode of the series. The episode aired on Nickelodeon in the United States on December 6, 2000. The episode marks the first appearance of both Patchy the Pirate and his pet parrot, Potty. The episode follows SpongeBob as he learns what Christmas is about, and as he creates excitement for everyone in Bikini Bottom.\n\nPlot\nIn Encino, California, the French Narrator introduces the president of the SpongeBob SquarePants fan club, Patchy the Pirate (played by Tom Kenny), a live-action character who is preparing for Christmas, along with his \"pet,\" Potty the Parrot (voiced by series' creator Stephen Hillenburg), a crudely made puppet with very obvious strings. Patchy receives a fan letter from a person, asking if SpongeBob likes Christmas as much as he does. Patchy explains that they did not always celebrate Christmas in Bikini Bottom, and decides to show how they were introduced to it, beginning the proper episode.\n\nWhile heading to the treedome of Sandy Cheeks for a surprise visit, SpongeBob SquarePants is horrified to see her electrifying the tree with an arrangement of colored Christmas lights and perceives it as a house-fire. While attempting to extinguish the alleged travesty, Sandy chastises him by informing that she is simply preparing for the holiday season, to which SpongeBob is thoroughly oblivious. After having customary Christmas traditions explained to him and enchanted by the promise of a visit from Santa Claus, SpongeBob spreads the news of the holiday amongst the townspeople and assists them in preparing wish lists for Santa Claus. However, a dubious Squidward refuses to participate in the celebration of Christmas, doubtful to the existence of Santa and attempting to disprove a spirited SpongeBob's claims to no avail. Nonetheless, the anticipated Bikini Bottomites enthusiastically prepare for the upcoming holiday; however, their faith is shattered after Santa fails to arrive on Christmas Eve (This is mostly because the townspeople stayed up all night waiting for him but might be explained that Santa did not come because he does not want to be seen while he is giving presents to people.) Furious with SpongeBob, they reject him, and call \"Santa\" null and void. When Santa Claus still fails to deliver presents to the people of town even SpongeBob's excitement is soiled as Squidward closes the blinds on a saddened SpongeBob. Seeing the error of his ways after being presented with an exquisite homemade gift from SpongeBob, Squidward tries to compensate for his rudeness by masquerading as Santa Claus to uplift his neighbor's spirits; however, he later winds up distributing his every possession among the residents of Bikini Bottom as Christmas gifts. After the excitement has settled, Squidward encounters a note from Santa Claus, gratiously thanking him for his sacrifices, and soon sights his sleigh soaring overhead; however, he dismisses himself as being insane, and finishes the episode by going inside to play on his clarinet.\n\nAfter the SpongeBob episode ends, Patchy's house is seen again, and Potty gives Patchy a little present. Patchy then steps under a mistletoe, hoping to be kissed by a woman, only for Potty to start chasing after him with the intention of kissing him. Seeing that Patchy is busy at the moment, the Narrator says \"Goodnight, and Happy Holidays.\"\n\nRelease\n\nBroadcast\n\"Christmas Who?\" was originally broadcast Wednesday, December 6, 2000. As of 2020, it is still rebroadcast on Nickelodeon during the Christmas season. On December 6, 2012, exactly 12 years after \"Christmas Who?\", another SpongeBob Christmas episode was released on Nickelodeon called \"It's a SpongeBob Christmas!\".\n\nHome media\n\"Christmas Who?\" was released on the DVD compilation called Christmas on September 30, 2003. The episode was also included in SpongeBob SquarePants: The Complete 2nd Season DVD released on October 19, 2004. On September 22, 2009, \"Christmas Who?\" was released on the SpongeBob SquarePants: The First 100 Episodes DVD, alongside all the episodes of seasons one through five.\n\nReception\nThe special received generally positive reviews; a reviewer on Reviewstream.com calls it \"a great story of the holiday spirit\". The episode currently holds a rating of 9.0/10 based on 213 votes at TV.com. In the DVD released by Nickelodeon, the episode was ranked at number 10 as one of SpongeBob SquarePants's 10 Happiest Moments.\n\nReferences\n\nExternal links\n\n \n\n2000s animated television specials\n2000 American television episodes\n2000 television specials\n2000s American television specials\nAmerican Christmas television specials\nSpongeBob SquarePants episodes\nTelevision episodes with live action and animation",
"\"What Ever Happened to SpongeBob?\" (alternatively titled \"WhoBob WhatPants?\") is the 18th episode of the fifth season of the American animated television series SpongeBob SquarePants, and the 98th episode overall. It first aired on Nickelodeon in the United States on October 13, 2008.\n\nIn the episode, SpongeBob thinks that his friends don't like him anymore after he made them angry because of a few accidents and decides to leave Bikini Bottom. Along the way, he accidentally bumps his head and loses his memory. SpongeBob wanders away into a new place called New Kelp City and attempts to get a new job, unaware he is becoming a target for a criminal gang known as the Bubble Poppin' Boys, while Patrick, Sandy and a reluctant Squidward try to find him.\n\nThe episode was written by Casey Alexander, Zeus Cervas, and Steven Banks, and the animation was directed by supervising director Alan Smart and Tom Yasumi. The episode features a guest appearance by Ray Liotta as the voice of the leader of the Bubble Poppin' Boys. The episode's premiere pulled an average of 7.7 million viewers, but received mixed to negative reviews from critics. Years after the episode first aired, the theme song of the episode was replaced with the generic main theme song internationally, but in the UK, it was replaced by the season 1-season 7 theme song.\n\nPlot summary\nSpongeBob wakes up on a normal day as usual and wants to spend time with his friends; however, he ends up angering them. With a sad, heavy heart, SpongeBob decides to leave Bikini Bottom, believing his friends now hate him after each of them calls him \"idiot boy\", after he accidentally broke Gary's shell, crushed and ruined Patrick's cake for his mother's birthday, disturbed Squidward's beauty sleep (as usual), destroyed Sandy's new invention (a robot), and deep-fried Mr. Krabs and his money. As he leaves, he falls off a cliff and bumps his head, knocking himself unconscious. Back in Bikini Bottom, Sandy and Patrick find a goodbye note from SpongeBob inside his pineapple and, realizing what they have done, show it to Mr. Krabs and Squidward. Everyone feels horrible for making SpongeBob leave and they too begin to cry, with the exception of Squidward, who is delighted. To make matters worse, without SpongeBob making Krabby Patties at the Krusty Krab, the city breaks out into massive chaos.\n\nMeanwhile, SpongeBob wakes up with amnesia. He sees a couple of fish; however, they run in fear when they find out SpongeBob has a bottle of bubble soap. He wanders around until he ends up in New Kelp City where he attempts to get a job. Each time he gets a job, he displays his bubble-blowing ability, but this strikes fear into all the residents of the city. His activity brings up a confrontation with \"the Bubble Poppin' Boys\", who have scared the city into never blowing bubbles because they keep being blinded by the bubbles. SpongeBob uses his ability to get rid of the gang in a giant bubble that he blew out of town. He is rewarded by getting the position of mayor of New Kelp City.\n\nWhile on the road, Sandy, Patrick, and Squidward learn SpongeBob became the new mayor, but when they go to New Kelp City to retrieve him, SpongeBob cannot remember who they are. They manage to take SpongeBob and return him to the Krusty Krab, but he wants to return to New Kelp City. Meanwhile, Squidward slips and accidentally throws his Fabergé egg onto SpongeBob's head, which causes his memory to come back. But even so, SpongeBob still wants to return to New Kelp City. At that moment, a breaking news report comes on, saying that the bubbles in New Kelp City are blinding the citizens, and SpongeBob is being threatened by a thug. This makes SpongeBob change his mind and he says that he will stay in Bikini Bottom, much to Squidward's chagrin.\n\nProduction\n\n\"What Ever Happened to SpongeBob?\", also known as \"WhoBob WhatPants?\", was a special episode written by Casey Alexander, Zeus Cervas, and Steven Banks. The animation and supervising director was Alan Smart. Alexander and Cervas also functioned as storyboard directors. The episode was first announced by Nickelodeon on September 24, 2008, on a press release. According to the network, SpongeBob \"wanders the ocean, a stranger in his own pants,\" and finds himself in a rough part of New Kelp City, where he faces off against the Boys' gangleader, Liotta's character.\n\nThe episode originally aired in the United States on October 13, 2008. From October 3, 2008, TurboNick featured a special playlist of content dedicated to the episode, including a sneak-peek of the special, themed episodes, short-form content, song clips, and an instant replay of the special following the television premiere. Nick.com, in 2008, presented a new game called \"SpongeBob SquarePants: WhoBob WhatPants?\" to celebrate the episode's television airing. The episode also features SpongeBob's signature sea chanty altered to \"WhoBob WhatPants?\" during the chorus answers in the title sequence.\n\nIn addition to the regular cast, Ray Liotta guest starred in the episode as the voice of the leader of New Kelp City's Bubble Poppin' Boys gang, and the main villain in the episode.\n\nOn October 14, 2008, \"What Ever Happened to SpongeBob?\" became available in the DVD compilation called SpongeBob's WhoBob WhatPants, along with six other episodes including \"Goo Goo Gas\", \"The Two Faces of Squidward\", \"SpongeHenge\", \"Banned in Bikini Bottom\", and \"Stanley S. SquarePants\". It also became available in the SpongeBob SquarePants: Season 5, Vol. 2 DVD on November 18, 2008. On September 22, 2009, \"What Ever Happened to SpongeBob?\" was released on the SpongeBob SquarePants: The First 100 Episodes DVD, alongside all the episodes of seasons one through five.\n\nReception\n\"What Ever Happened to SpongeBob?\" was viewed by 7.7 million audiences. This ranked the program the number one most viewed entertainment show of the night, and the number two most viewed show in all categories after ESPN Monday Night Football. Despite the high ratings, the episode received mixed-to-negative reviews from critics. Maddy Pumila said that the episode was \"extremely fun and entertaining. I hadn't watched SpongeBob in a while, but the laughs in this episode provided more laughs than I would get in an entire day.\"\n\nMaxie Zeus of Toon Zone cited the episode as an example of the series' decline. Lesley Aeschliman of Yahoo! Voices wrote \"I have to look at this special like the 'Friend or Foe?' special. While 'WhoBob WhatPants?' works well as a regular story for SpongeBob SquarePants, I'm not entirely convinced that it deserved to be hyped up as a special. While this story had the potential to be 'special material,' it just didn't materialize in the final produced product.\" Roy Hrab of DVD Verdict said, \"It makes me sad to think about how something so pleasurable has declined into something so tedious.\" Paul Mavis of DVD Talk said, \"With a laugh-skimpy script, 'What Ever Happened to SpongeBob?' may be confirming a trend I noticed back with the last original SpongeBob toon to get its own disc release, Pest of the West: SpongeBob shorts are starting to get tired. And 'What Ever Happened to SpongeBob?' is even less funny than 'Pest of the West',\" adding the episode was \"Not a good sign.\"\n\nReferences\n\nExternal links\n\n2008 American television episodes\n2008 television specials\nSpongeBob SquarePants episodes\nTelevision episodes about amnesia\nAnimated television specials\n2000s animated television specials"
] |
[
"Stephen Hillenburg",
"Early career",
"What did he start his career in?",
"park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children.",
"What subject did he teach when he became a teacher?",
"marine-biology teacher",
"Did he teach any other subjects alone the years?",
"tide-pool ecology, nautical history, diversity and adaptation.",
"Between those years did he come up with Sponge bob?",
"I don't know.",
"What year was he teaching or start?",
"1984,",
"What was the name of the school he was teaching at?",
"Orange County Marine Institute",
"What other jobs did he have in his early career?",
"He created a comic called The Intertidal Zone,",
"Does it state what the comic was about?",
"featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob",
"How did he come up with the idea of comics and/or Sponge-bob?",
"he was asked by one of the educational directors if he would be interested in creating an educational comic book",
"Did he come up with the ideas of how Spongebob was going to look?",
"comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge."
] |
C_6201d5b174b24dec99fc9ee08806de24_1
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Any other inspiration to the characters?
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Besides The Intertidal Zone's co-host, did Stephen Hillenburg get any other inspiration from the comics to the Spongebob characters?
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Stephen Hillenburg
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After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California that is dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession. While working there, he was asked by one of the educational directors if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters--including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but was turned down by the publishers that he approached. At one point during his tenure with the Orange County Marine Institute, Hillenburg started going to animation festivals such as the International Tournee of Animation and Spike and Mike's Festival of Animation where, at one of those, films made by California Institute of the Arts (colloquially called CalArts) students were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator. In 1989, Hillenburg enrolled in the Experimental Animation Program at CalArts. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considers his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. CANNOTANSWER
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who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge.
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Stephen McDannell Hillenburg (August 21, 1961 – November 26, 2018) was an American animator, writer, producer, and marine science educator. Hillenburg created the Nickelodeon animated television series SpongeBob SquarePants, on which he served as the showrunner for the first three seasons of the show, and has become the fifth-longest-running American animated series.
Born in Lawton, Oklahoma, and raised in Anaheim, California, Hillenburg became fascinated with the ocean as a child and developed an interest in art. He started his professional career in 1984, instructing marine biology, at the Orange County Marine Institute, where he wrote The Intertidal Zone, an informative picture book about tide-pool animals, which he used to educate his students. In 1989, two years after leaving teaching, Hillenburg enrolled at the California Institute of the Arts to pursue a career in animation. He was later offered a job on the Nickelodeon animated television series Rocko's Modern Life (19931996) after his success with The Green Beret and Wormholes (both 1992), short films that he made while studying animation.
In 1994, Hillenburg began developing The Intertidal Zone characters and concepts for what became SpongeBob SquarePants. The show has aired continuously since its premiere in 1999. He also directed The SpongeBob SquarePants Movie (2004), which he originally intended to be the series finale. Hillenburg resigned as showrunner, but Nickelodeon continued to produce more episodes after he departed the series. He resumed making short films, with Hollywood Blvd., USA in 2013, but continued to be credited as an executive producer for SpongeBob SquarePants. Hillenburg co-wrote the story for the second film adaptation of the series, The SpongeBob Movie: Sponge Out of Water, which was released in 2015.
Besides his two Emmy Awards and six Annie Awards for SpongeBob SquarePants, Hillenburg also received other recognition, such as an accolade from Heal the Bay for his efforts on elevating marine life awareness, and the Television Animation Award from the National Cartoonists Society. Hillenburg announced he was diagnosed with amyotrophic lateral sclerosis (ALS) in 2017, but stated he would continue to work on SpongeBob SquarePants as long as possible. He died on November 26, 2018, at the age of 57.
Early life and education
Stephen McDannell Hillenburg was born on August21, 1961 at Fort Sill, a United States Army post in Lawton, Oklahoma, where his father, Kelly N. Hillenburg Jr., worked for the U.S. military. His mother, Nancy (née Dufour), taught visually impaired students. When he was a year old, the family moved to Orange County, California, where his father began a career as a draftsman and designer in the aerospace industry. His younger brother, Bryan, eventually became a draftsman/designer as well.
When an interviewer asked Hillenburg to describe himself as a child, he replied that he was "probably well-meaning and naive like all kids." His passion for sea life can be traced to his childhood, when films by French oceanographer Jacques Cousteau made a strong impression on him. Hillenburg said that Cousteau "provided a view into that world", which he had not known existed. He liked to explore tide pools as a child, bringing home objects that "should have been left there and that ended up dying and smelling really bad."
Hillenburg also developed his interest in art at a young age. His first drawing was of an orange slice. An illustration which he drew in third grade, depicting "a bunch of army men... kissing and hugging instead of fighting", brought him the first praise for his artwork, when his teacher commended it. "Of course, this is 1970... She liked it because, I mean, obviously that was in the middle of [the Vietnam War]. She was, I would imagine, not a hundred percent for the war like a lot of people then. ...I had no idea about the implications, really, because I just thought it was a funny idea. I remember that still, that moment when she said, 'oh my gosh, look at that'", Hillenburg elaborated. It was then when he knew he "had some [creative] skill". He asserted that his artistry came from his mother's side, despite his father being a draftsman, noting that his maternal grandmother was "really, really gifted" and a "great painter". In the 1970s, someone took Hillenburg to the International Tournée of Animation at the Los Angeles County Museum of Art. He was "knocked out" by the foreign animated films, including Dutch animator Paul Driessen's The Killing of an Egg (1977). "That was the film that I thought was uniquely strange and that lodged itself in my head early on," he recounted.
He attended Savanna High School in Anaheim, describing himself as a "band geek" who played the trumpet. At age 15, he snorkeled for the first time; Hillenburg took part in a "dive program" at Woods Coves in Laguna Beach, as part of the Regional Occupational Program at Savanna. This experience, as well as subsequent dives, reinforced his interest in, and led to his decision to study, marine biology in college: "The switch clicked and I decided I wanted to be a marine biologist, but I also liked being an artist." Some of his high-school teachers, who knew of his interest in art and fascination with the ocean, advised him otherwise, saying: "You should just draw fish." However, the idea of drawing fish seemed boring to him and he was more riveted by "making weird, little paintings". During a few summers after finishing high school, he worked as a fry cook and lobster boiler at a fast-food seafood restaurant in Maine. (This later inspired SpongeBob SquarePants' occupation in the television series, which he would begin developing in 1994.)
Hillenburg went to Humboldt State University in Arcata, California as a marine-science major. He minored in art, and claimed that "[he] blossomed as a painter in Humboldt." In 1984, he earned his bachelor's degree in natural-resource planning and interpretation, with an emphasis on marine resources. He intended to take a master's degree, but said it would be in art: "Initially I think I assumed that if I went to school for art I would never have any way of making a living, so I thought it might be smarter to keep art my passion and hobby and study something else. But by the time I got to the end of my undergrad work, I realized I should be in art."
Early career
After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California, dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession.
While working there, one of the educational directors asked him if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters—including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but the publishers he approached turned him down.
During this time, Hillenburg also started going to animation festivals such as the International Tournée of Animation and Spike and Mike's Festival of Animation where films made by students from the California Institute of the Arts (colloquially called CalArts) were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.
Hillenburg enrolled in CalArts' Experimental Animation Program in 1989. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considered his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation. During his time at CalArts, he briefly drew comics for the surfing magazine KEMA in 1990.
Animation career
Early works
Hillenburg made his first animated works, short films The Green Beret (1991) and Wormholes (1992), while at CalArts. The Green Beret was about a physically challenged Girl Scout with enormous fists who toppled houses and destroyed neighborhoods while trying to sell Girl Scout cookies. Wormholes was his seven-minute thesis film, about the theory of relativity. He described the latter as "a poetic animated film based on relativistic phenomena" in his grant proposal in 1991 to the Princess Grace Foundation, which assists emerging artists in American theater, dance, and film. The foundation agreed to fund the effort, providing Hillenburg with a Graduate Film Scholarship. "It meant a lot. They funded one of the projects I'm most proud of, even with SpongeBob. It provided me the opportunity just to make a film that was personal, and what I would call independent, and free of some of the commercial needs," he said in 2003. Wormholes was shown at several international animation festivals, including: the Annecy International Animated Film Festival; the Hiroshima International Animation Festival; the Los Angeles International Animation Celebration; the International Short Film Festival Oberhausen; and the Ottawa International Animation Festival, where it won Best Concept. LA Weekly labeled the film "road-trippy" and "Zap-comical", while Manohla Dargis of The New York Times opined that it was inventive.
Hillenburg explained that "anything goes" in experimental animation. Although this allowed him to explore alternatives to conventional methods of filmmaking, he still ventured to employ "an industry style"; he preferred to traditionally animate his films (where each frame is drawn by hand) rather than, for instance, make cartoons "out of sand by filming piles of sand changing". Hillenburg had at least one other short film that he made as an animation student but its title is unspecified.
Rocko's Modern Life
Hillenburg's first professional job in the animation business was as a director on Rocko's Modern Life (19931996), Nickelodeon's first in-house cartoon production. He "ended up finding work in the industry and got a job" at the television network after he met the show's creator, Joe Murray, at the 1992 Ottawa International Animation Festival, where Wormholes and Murray's My Dog Zero were both in competition. Murray, who was looking for people to direct Rocko's Modern Life at the time, saw Hillenburg's film and offered him a directorial role on the television series. He "[had] friends that [gave him] a hard time about [the offer]. ... but doors opened when [he] stepped into the animation world," so he accepted it. He "was planning on being a starving artist": "[I spent] several thousand dollars to make a film and [realized] I may not make it backI had loans out. Fortunately, Joe Murray saw my film... and he took a huge chance," Hillenburg related.
Hillenburg worked closely with Murray on Rocko's Modern Life for its whole run on the air. Aside from directing, he also produced, wrote and storyboarded for some episodes, and served as the executive story editor. In 1995, during the show's fourth and final season, he was promoted to creative director, where he helped oversee pre- and post-production. Working on the series enabled him to repay his loans. He later related that he "learned a great deal about writing and producing animation for TV" from his stint on Rocko's Modern Life.
SpongeBob SquarePants
Creation
Some evidence shows that the idea for SpongeBob SquarePants dates back to 1986, during Hillenburg's time at the Orange County Marine Institute. He indicated that children's television series such as The New Adventures of Mighty Mouse (19871988) and Pee-wee's Playhouse (19861991) "sparked something in [him]." He continued, "I don't know if this is true for everybody else, but it always seems like, for me, I'll start thinking about something and it takes about ten years to actually have it happen, or have someone else believe in it... It took me a few years to get [SpongeBob SquarePants] together."
During the production of Rocko's Modern Life, Martin Olson, one of the writers, read The Intertidal Zone and encouraged Hillenburg to create a television series with a similar concept. At that point, he had not even considered creating his own series: "After watching Joe [Murray] tear his hair out a lot, dealing with all the problems that came up, I thought I would never want to produce a show of my own." However, he realized that if he ever did, this would be the best approach: "For all those years it seemed like I was doing these two totally separate things. I wondered what it all meant. I didn't see a synthesis. It was great when [my two interests] all came together in [a show]. I felt relieved that I hadn't wasted a lot of time doing something that I then abandoned to do something else. It has been pretty rewarding," Hillenburg said in 2002. He claimed that he finally decided to create a series as he was driving to the beach on the Santa Monica Freeway one day.
As he was developing the show's concept, Hillenburg remembered his teaching experience at the Orange County Marine Institute and how mesmerized children were by tide-pool animals, including crabs, octopuses, starfish, and sponges. It came to him that the series should take place underwater, with a focus on those creatures: "I wanted to create a small town underwater where the characters were more like us than like fish. They have fire. They take walks. They drive. They have pets and holidays." It suited what Hillenburg liked for a show, "something that was fantastic but believable." He also wanted his series to stand out from most popular cartoons of the time exemplified by buddy comedies such as The Ren & Stimpy Show (19911995). As a result, he decided to focus on one main character: the weirdest sea creature that he could think of. This led him to the sponge: "I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one." In 1994, Hillenburg began to further develop some characters from The Intertidal Zone, including Bob the Sponge.
Bob the Sponge is the comic's "announcer". He resembles an actual sea sponge, and at first Hillenburg continued this design because it "was the correct thing to do biologically as a marine-science teacher." In determining the new character's personality, he drew inspiration from innocent, childlike figures that he enjoyed, such as Charlie Chaplin, Laurel and Hardy, Jerry Lewis, Pee-wee Herman, Abbott and Costello, and The Three Stooges. He then considered modeling the character after a kitchen sponge, and realized that this idea would match the character's square personality perfectly: "[I]t looked so funny. I think as far as cartoon language goes he was easier to recognize. He seemed to fit the character type I was looking fora somewhat nerdy, squeaky clean oddball." To voice the central character of the series, Hillenburg turned to Tom Kenny, whose career in animation had begun with his on Rocko's Modern Life. Elements of Kenny's own personality were employed in further developing the character.
While pitching the cartoon to executives at Nickelodeon, Hillenburg donned a Hawaiian shirt, brought along an "underwater terrarium with models of the characters", and played Hawaiian music to set the theme. Nickelodeon executive Eric Coleman described the setup as "pretty amazing". Although Derek Drymon, creative director of SpongeBob SquarePants, described the pitch as stressful, he said it went "very well". Nickelodeon approved and gave Hillenburg money to produce the show.
Broadcast
SpongeBob SquarePants was Nickelodeon's first original Saturday-morning cartoon. It first aired as a preview on May 1, 1999, and officially premiered on July 17 of the same year. Hillenburg noted that the show's premise "is that innocence prevailswhich I don't think it always does in real life." It has received positive reviews from critics, and has been noted for its appeal to different age groups. James Poniewozik of Time magazine described the titular character as "the anti-Bart Simpson, temperamentally and physically: his head is as squared-off and neat as Bart's is unruly, and he has a personality to matchconscientious, optimistic and blind to the faults in the world and those around him." On the other hand, The New York Times critic Joyce Millman said that the show "is clever without being impenetrable to young viewers and goofy without boring grown-ups to tears. It's the most charming toon on television, and one of the weirdest. ...Like Pee-wee's Playhouse, SpongeBob joyfully dances on the fine line between childhood and adulthood, guilelessness and camp, the warped and the sweet."
SpongeBob SquarePants was an immediate hit. Within its first month on air, it overtook Pokémon (1997) as the highest-rated Saturday morning children's series. By the end of 2001, the show boasted the highest ratings of any children's series on television. Nickelodeon began adding SpongeBob SquarePants to its Monday-through-Thursday prime-time block. This programming change increased the number of older viewers significantly. By May 2002, the show's total viewership reached more than 61 million, 20 million of which were aged 18 to 49. Hillenburg did not expect the show would be very popular even to adults: "I never imagined that it would get to this point. When you set out to do a show about a sponge, you can't anticipate this kind of craze. We just try to make ourselves laugh, then ask if it's appropriate for children. I can tell you that we hoped it would be liked by adults. But we really thought the best we could hope for was a college audience." SpongeBob SquarePants has gone on to become one of the longest-running series on Nickelodeon. "Ten years. I never imagined working on the show to this date and this long. It never was possible to conceive that. ...I really figured we might get a season and a cult following, and that might be it," Hillenburg said in 2009 during the show's tenth anniversary. Its popularity has made it a media franchise, which is the most-distributed property of MTV Networks. , it has generated $12 billion in merchandising revenue.
Departure
In 2002, Hillenburg halted production of the show after the third season was completed to focus on the making of The SpongeBob SquarePants Movie which was released in 2004: "I don't want to try and do a movie and the series at the same time. We have 60 episodes and that is probably as many as [Nickelodeon] really needs. It is a standard number for a show like this. I have done a little research and people say it is just crazy doing a series and movie at the same time. I would rather concentrate on doing a good job on the movie," he noted. He directed the film from a story that he conceived with five other writer-animators from the series: Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne, and Tim Hill. The writers created a mythical hero's quest: the search for a stolen crown, which brings SpongeBob and his best friend Patrick to the surface. In 2003, during the production of The SpongeBob SquarePants Movie, his mentor Jules Engel died at the age of 94. Hillenburg dedicated the film to his memory. He said that Engel "truly was the most influential artistic person in [his] life." The SpongeBob SquarePants Movie grossed $140 million worldwide, and received positive reviews from critics. The review-aggregator website Rotten Tomatoes rates it 68 percent positive based on 125 reviews, with an average rating of 6.2/10. Its consensus states in summary, "Surreally goofy and entertaining for both children and their parents."
After completing the film, Hillenburg wanted to end the series "so [it] wouldn't jump the shark." "We're working on episodes 40 through 60 right now, and I always looked at that as a typical run for an animated show. [The Ren & Stimpy Show] lasted about that long, for example. And I thought now was a good time to step aside and look at a different project. I personally think it's good not to go to the point where people don't want to see your show anymore," Hillenburg said in 2002. However, Nickelodeon wanted to produce more episodes: "The show was such a cash cow for the station that it couldn't afford not to," storyboard director Sam Henderson observed. Initially Hillenburg doubted that the network would continue the show without him, saying: "I think [Nickelodeon executives] respect that my contribution is important. I think they would want to maintain the original concept and quality." Consequently, he resigned as the showrunner and appointed his trusted staff member Paul Tibbitt to the role. Although he no longer had a direct involvement producing SpongeBob SquarePants, he retained his position as an executive producer and maintained an advisory role, reviewing each episode. Tibbitt started out as a supervising producer but rose up to executive producer when Hillenburg went into semi-retirement in 2004. While he was on the show, he voiced Potty the Parrot and sat in with Derek Drymon at the record studio to direct the voice actors while they were recording. During the fourth season, Tibbitt took on voicing for Potty, while Andrea Romano replaced the two as the voice director.
In 2014, Tibbitt announced on his Twitter account that Hillenburg would return to the show. However, he did not specify what position the former showrunner would hold. As early as 2012, Hillenburg had already been contributing to another film based on the series, which was first reported in 2011 and officially announced the following year, with Tibbitt as director. Tibbitt also wrote the story with Hillenburg, who "[had] been in the studio everyday working with [the crew]." Besides writing, Hillenburg also executive-produced. He said in 2014: "Actually when [the film] wraps, I want to get back to the show. ...it is getting harder and harder to come up with stories. So Paul [Tibbitt] and I are really going to brainstorm and come up with fresh material." Called The SpongeBob Movie: Sponge Out of Water, the second film adaptation was released in 2015 to positive critical reception, currently holding a Rotten Tomatoes approval rating of 80 percent and an average rating of 6.5/10. It earned $323.4 million worldwide, becoming the second highest-grossing film based on an animated television show, behind The Simpsons Movie (2007).
Other pursuits
In 1998, Hillenburg formed United Plankton Pictures Inc., a television and film production company, which produces SpongeBob SquarePants and related media. From 2011 to 2018, the company published SpongeBob Comics, a comic-book series based on the cartoon. Hillenburg announced the venture in a 2011 press release, where he said, "I'm hoping that fans will enjoy finally having a SpongeBob comic book from me." Various cartoonists, including James Kochalka, Hilary Barta, Graham Annable, Gregg Schigiel, and Jacob Chabot, have contributed to issues of the comic.
According to Jeff Lenburg, in his book Who's Who in Animated Cartoons, Hillenburg was co-writing and co-directing a second animated feature film based on Rob Zombie's comic-book series, The Haunted World of El Superbeasto, which was slated for a 2006 release. He helped to write Diggs Tailwagger, a 2007 pilot by Derek Drymon. Hillenburg stated in 2009 that he was developing two other television projects that he did not want to discuss.
In 2010, he began working on Hollywood Blvd., USA, a new short film for animation festivals. In making the two-minute film, he videotaped people walking and animated them in walk cycles. Hillenburg said in 2012, "I hope to get [the film] done. It takes forever." He was aiming to finish it that fall. In 2013, three years after production began, Hollywood Blvd., USA was released to festivals. Hillenburg characterized it as a "personal film" and said that "it's not a narrative. It's just really about people in our town."
Personal life
Hillenburg married Karen Umland, a Southern Californian chef who teaches at the New School of Cooking in Culver City, in 1998. Hillenburg deemed her to be the funniest person that he knew, and the character of Karen Plankton was named after her. Also in 1998, the couple's first and only child, son Clay, was born. Hillenburg formerly resided in Hollywood and in Pasadena, and he lived with his family in San Marino, California, until his death. His hobbies included surfing, snorkeling, scuba diving, swimming, and performing "noisy rock music" on his guitar. He jammed with his son, who is a drummer, which Hillenburg called "a great way to bond with each other." He also enjoyed birdwatching at home, but said that he was always "an ocean freak".
He was known informally as "Steve" among his family, friends, and fans. According to his colleagues, Hillenburg was "a perfectionist workaholic". He was also known for his private nature. Julia Pistor, co-producer of The SpongeBob SquarePants Movie, noted that Hillenburg was "very shy". She went on to say, "He doesn't want people to know about his life or family. He's just a really funny, down-to-earth guy with a dry sense of humor who puts his family first and keeps us on our toes in keeping our corporate integrity." Hillenburg said about himself, "I make animation because I like to draw and create things. I have no real interest to be on camera or to be a celebrity. It's not that I don't like people, but I like having my privacy."
Philanthropy
Hillenburg, with his wife Karen, had endowed numerous projects and organizations through the United Plankton Charitable Trust, which the couple established in 2005. The foundation, the name of which was adopted from Hillenburg's United Plankton Pictures, supports areas of the two's personal interest, giving under $500,000 annually . Grantees include large, established arts-related organizations such as the Los Angeles County Museum of Art and the Society for the Activation of Social Space through Art and Sound, in which Karen is co-chair. Health accounts for most of their grantmaking; they had gifted to Planned Parenthood (where Karen is member of the board of directors ) and the National Multiple Sclerosis Society, among other national health organizations.
In education, they donated to schools, including the Polytechnic School in Pasadena (which their son attended), CalArts, and Humboldt State University. Donations to the latter helped fund the HSU Marine Lab and the Stephen Hillenburg Marine Science Research Award Endowment, which the couple created in 2018 to support the university's marine-science research students. The previous year, the Princess Grace Foundation introduced the Stephen Hillenburg Animation Scholarship, an annual grant from the Hillenburgs to emerging animators.
Illness, death and legacy
Hillenburg disclosed to Variety magazine in March 2017 that he had been diagnosed with amyotrophic lateral sclerosis (ALS), a fatal neurodegenerative disease that affects the motor neurons in the brain and spinal cord. He released a statement to the publication, in which he said that he would continue to work on SpongeBob SquarePants "for as long as [he is] able." He added: "My family and I are grateful for the outpouring of love and support. We ask that our sincere request for privacy be honored during this time." Hillenburg was in the early stages of the disease at the time, according to a source close to him. During his last days as executive producer, he had difficulty speaking, and it came to the point where he eventually stopped coming to the office.
Hillenburg died at his home on November 26, 2018, at the age of 57, due to the complications. According to his death certificate, his body was cremated and his ashes were scattered in the Pacific Ocean at least off the coast of California the next day.
During the halftime show for Super Bowl LIII, the performing band Maroon 5 arranged to use a clip from the SpongeBob episode "Band Geeks" (which uses the song "Sweet Victory" as part of a spoof of a football halftime show) during their show as a means to pay tribute to Hillenburg. A full clip of the "Sweet Victory" song, including a dedication to Hillenburg, was played inside Mercedes-Benz Stadium, but not during the game, which angered many fans. The song was later included in a promo for ViacomCBS' Paramount+ streaming service during Super Bowl LV.
The TV special SpongeBob's Big Birthday Blowout and the theatrical film The SpongeBob Movie: Sponge on the Run are dedicated to him and his career.
In 2019, a spin-off of SpongeBob SquarePants began production, featuring younger versions of the characters attending summer camp. Former showrunner Paul Tibbitt stated that Hillenburg would have disliked the idea; he commented, "Steve [Hillenburg] would always say to me, 'You know, one of these days, they're going to want to make SpongeBob Babies. That's when I'm out of here.'" Tibbitt also released a statement stating, "I do not mean any disrespect to my colleagues who are working on this show ... [but] they all know full well Steve would have hated this." The concept of Kamp Koral came from a season 12 meeting in October 2018, a month before Hillenburg died. Hillenburg is credited as the creator of Kamp Koral, and is credited on other spin-offs as the characters' creator.
Awards and honors
In 1992, one of Hillenburg's early works, Wormholes, won for Best Concept at the Ottawa International Animation Festival. For SpongeBob SquarePants, Hillenburg was nominated for 17 Emmy Awards, winning in the categories of Outstanding Special Class Animated Program and Outstanding Sound Editing – Animation in 2010 and 2014, respectively. The show has also received several other awards and nominations, including 17 Annie Award nominations, winning six times, as well as winning two British Academy Children's Awards, out of four nominations. In 2002, SpongeBob SquarePants won its first TCA Award for Outstanding Achievement in Children's Programming nomination.
In 2001, Heal the Bay, an environmental nonprofit organization, honored Hillenburg with its Walk the Talk award. He was recognized for raising public awareness of marine life through SpongeBob SquarePants. The following year, Hillenburg was given the Television Animation Award from the National Cartoonists Society, and the Princess Grace Statue Award from the Princess Grace Foundation. In 2018, Hillenburg received the Winsor McCay Award at the 45th Annie Awards, and a special recognition at the 45th Daytime Emmy Awards "for his contribution and impact made in the animation field and within the broadcast industry."
The marine demosponge species Clathria hillenburgi, known from mangrove habitats off the coast of Paraíba, Brazil, was named in honor of Stephen Hillenburg.
On November 18, 2021, Hillenburg was honored with a bench and historical plaque at his alma mater Savannah High School in Anaheim, California. The project was a collaboration between the Hillenburg family, Anaheim Historical Society, and YouTube personality Griffin Hansen. Karen Hillenburg specifically chose a bright yellow bench that "she thought perfectly captured her husband's warmth and goofiness". The memorial was dedicated one day before Savanna High School's 60th anniversary at a school-wide assembly hosted by Hansen and principal Michael Pooley. The event was attended by Karen and Clay Hillenburg, as well as members of Spongebob Squarepants' cast and crew including Tom Kenny, Jill Talley, Rodger Bumpass, Bill Fagerbakke, Clancy Brown, Mr. Lawrence, Marc Ceccarelli, and Derek Drymon.
Filmography
Film
Television
References
Further reading
External links
Stephen Hillenburg at the Nickelodeon Animation Studio website
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2018 deaths
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"Elizabeth \"Beth\" Harmon is a fictional character and the main protagonist in the Walter Tevis novel The Queen's Gambit and the Netflix drama miniseries of the same name, in which she is portrayed by Anya Taylor-Joy. Taylor-Joy's performance as Beth was critically acclaimed. She was nominated for the Primetime Emmy Award for Outstanding Lead Actress in a Limited Series or Movie. She also won the Golden Globe Award for Best Actress – Miniseries or Television Film and the Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Miniseries or Television Movie.\n\nFictional biography \nBeth is a chess prodigy who was orphaned at age eight when her mother died in a car crash. Growing up in an orphanage, she was taught chess by the custodian Mr. Shaibel, and soon became a strong player. While at the orphanage, she struggles with an addiction to tranquilizers. In her teens she was adopted and began her rapid rise in the chess world, eventually challenging the top Soviet players. As her skill and profile grows, so does her dependency on tranquilizers and eventually alcohol.\n\nConcept and inspiration \nDiana Lanni, a New York chess player contemporary with Tevis who represented the United States at the 1982 Chess Olympiad in Lucerne, suggested she was at least in part the inspiration for the Beth Harmon character, and that her friend grandmaster Larry Kaufman was the inspiration for the book's Harry Beltik character. Lanni thinks it is plausible she got Tevis' attention when playing at the outdoor tables at Washington Square Park as the only woman, and as someone with depression and addiction problems. Other real life chess players said to have inspired the character include Bobby Fischer and Tevis himself. Tevis, however, explicitly denied any of his characters were based on any real life people. He also said he found it more interesting to write a female character.\n\nTelevision adaptation \n\nAfter several aborted attempts to bring the novel to screen, Netflix announced they had acquired the rights, with Anya Taylor-Joy confirmed as the show's lead, on March 19, 2019, with a Twitter post by Netflix Queue.\n\nSee also \nJudit Polgár, the female chess player who has come closest to challenging for the World Chess Championship.\n\nReferences \n\nAdoptee characters in television\nFictional adoptees\nFictional alcohol abusers\nFictional characters from Kentucky\nFictional child prodigies\nFictional drug addicts\nFictional female sportspeople\nFictional orphans\nFictional smokers\nLiterary characters introduced in 1983\nOrphan characters in literature",
"Mr. Toad, of Toad Hall, is one of the main characters in the 1908 novel The Wind in the Willows by Kenneth Grahame, and also the title character of the 1929 A. A. Milne play Toad of Toad Hall based on the book.\n\nInspiration\nThe inspiration for Mr. Toad's wayward mischievousness and boastfulness was Kenneth Grahame's only child Alastair: a family friend, Constance Smedley, overheard Grahame telling Alastair the exploits of Toad as a bedtime story, and noted that \"Alastair's own tendency to exult in his exploits was gently satirized in Mr. Toad\". Colonel Francis Cecil Ricardo (1852–1924), the first owner of a car in Cookham in Berkshire, where Grahame wrote the books is also thought to have been an influence. Other suggestions include Walter Cunliffe, 1st Baron Cunliffe.\n\nActors who have played Mr. Toad\n Eric Blore - The Adventures of Ichabod and Mr. Toad\n David Jason - The Wind in the Willows (1983 film)\n Charles Nelson Reilly - The Wind in the Willows (1987 film)\n Rik Mayall - The Wind in the Willows (1995 film)\n Terry Jones - The Wind in the Willows (1996 film)\n Matt Lucas - The Wind in the Willows (2006 film)\n Peter Harryson - on stage.\n\nReferences in other media\nThe first story arc of the Batman and Robin comic book by Grant Morrison features a villainous character with the name and appearance of Mr. Toad. After Batman and Robin interrogate Toad, he is revealed to be in cahoots with Pyg.\n\nReferences\n\nFictional frogs and toads\nCharacters in children's literature\nCharacters in Disney package films\nCharacters in British novels of the 20th century\nLiterary characters introduced in 1908"
] |
[
"Boyz II Men",
"1997-98: Evolution and label conflicts"
] |
C_c2bd6b980a07445e913048d7d8ff195c_1
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Were there any label conflicts?
| 1 |
Were there any label conflicts for Boyz II Men?
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Boyz II Men
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Motown issued The Remix Collection, a compilation of remixes of various Boyz II Men songs from Cooleyhighharmony and II. The group itself had opposed the release of the collection, because they felt the compilation did not represent Boyz II Men's best work. After the label released the album without their permission, there was a dispute between the company and the group. Boyz II Men initiated their own recording company Stonecreek (which released material by artists such as Uncle Sam), and they arranged for Stonecreek's distribution by Epic Records, not Motown. Boyz II Men's third studio album, Evolution, was released during 1997 to mixed reviews and sold three million copies, far below the stratospheric success of II's (12 million copies) and Cooleyhighharmony (9 million). Only one of Evolution's singles, the Jam/Lewis-penned "Four Seasons of Loneliness", reached number 1 on the Hot 100 chart. The second single, the Babyface-helmed "A Song for Mama" (the theme song to the Babyface-produced film Soul Food) was a Top 10 success, but the follow-up "Can't Let Her Go" underperformed. The global tour began in 1997 to promote Evolution was very successful in terms of ticket sales, but behind the scenes, Boyz II Men was wracked by conflicts with their record label and internal conflicts among the members of the group. Making matters worse, health problems began to take their toll on the group as well. While on tour to support the Evolution album, Wanya Morris developed a polyp on his vocal cords, and the group was forced to postpone part of the tour until he recovered. McCary's scoliosis meant that he was unable to participate in most of the group's dance routines. Boyz II Men were nominated for 2 Grammys in 1998: Best R&B Album for Evolution and Best R&B Vocal Performance by a Duo or Group for "A Song for Mama". CANNOTANSWER
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After the label released the album without their permission, there was a dispute between the company and the group.
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Boyz II Men (pronounced boys to men), also known as B2M, is an American vocal harmony group from Philadelphia, Pennsylvania, best known for emotional ballads and a cappella harmonies. They are currently a trio composed of baritone Nathan Morris alongside tenors Wanya Morris and Shawn Stockman. During the 1990s, Boyz II Men found fame on Motown Records as a quartet including bass Michael McCary, who left the group in 2003 due to back spasms that were eventually diagnosed as multiple sclerosis.
During the 1990s, Boyz II Men gained international success. This began with the release of top 5 singles "Motownphilly" and "It's So Hard to Say Goodbye to Yesterday" in 1991, followed by the number one single "End of the Road" in 1992, which reached the top of charts worldwide. "End of the Road" set a new record for longevity, staying at number one on the Billboard Hot 100 for thirteen weeks. Boyz II Men proceeded to break this record with the subsequent releases of "I'll Make Love to You" and "One Sweet Day" (with Mariah Carey), which, at fourteen and sixteen weeks, respectively, each set new records for the total number of weeks at number one. "I'll Make Love to You" also topped the charts in Australia (for four weeks) and garnered international success.
Consequently, Boyz II Men is among the music industry's elite with regard to time spent at number one in Billboard history with 50 cumulative weeks, ranking sixth behind Drake, the Beatles, Rihanna, Elvis Presley and Carey. Furthermore, when "On Bended Knee" took the number one spot away from "I'll Make Love to You", Boyz II Men became only the third artists ever (after the Beatles and Presley) to replace themselves at the top of the Billboard Hot 100. These achievements were enough to earn Boyz II Men recognition as Billboard magazine's biggest boy band during the period of 1987 to 2012. Boyz II Men has received four Grammy Awards.
Boyz II Men continue to perform worldwide, as a trio. Their most recent studio album, Under the Streetlight, was released in 2017.
In June 2017, a section of Broad Street (from Christian to Carpenter Streets) in Philadelphia was renamed "Boyz II Men Boulevard". This section of the street is near the High School for the Creative and Performing Arts, where the members once attended.
History
1985–1990: Beginnings
The group, originally known as Unique Attraction, was started by friends Nathan Morris and Marc Nelson at the Philadelphia High School for the Creative and Performing Arts (CAPA) along with fellow schoolmates George Baldi, Jon Shoats, and Marguerite Walker in 1985. In 1987, Wanya Morris, who sang in the school's choir along with the members of Unique Attraction, joined the group and became a permanent member when he was only a freshman. In 1988 Baldi, Shoats, and Walker all left the group due to graduation. They then recruited Shawn Stockman after seeing him perform a solo in the school's choir. One day, Nate, Marc, Wanya and Shawn were practicing harmonies in a school bathroom and in walked Michael McCary who started singing along with the group and eventually became the group's new bass singer. Now with a permanent lineup of members, the group rehearsed in the high school's bathrooms, due to the excellent acoustics, and on the corners of their schools and local hangouts. They found inspiration in New Edition's harmonies and routines, and eventually renamed the group "Boyz II Men", after one of New Edition's songs, "Boys to Men", from their 1988 album Heart Break. After performing at a Valentine's Day party at school in 1989 they got their big break when they snuck into a concert put on by local radio station Power 99 at the Philadelphia Civic Center. Their plan was to find Will Smith backstage and perform for him. But while looking for Smith, they happened to cross paths with New Edition member Michael Bivins, who along with fellow groupmates Ricky Bell and Ronnie DeVoe just announced they were forming a New Edition spin-off trio Bell Biv DeVoe. After they sang New Edition's "Can You Stand the Rain" for him, Bivins and everyone in attendance including other celebrities were impressed. He then gave the group his number and told them to give him a call. Nate eventually called him, and he agreed to manage and helped produce the group.
The delay before recording their own material and reported personality conflicts led founding member Marc Nelson to leave the group, making Boyz II Men into the quartet that found international fame: Michael McCary, Nathan Morris, Wanya Morris, and Shawn Stockman.
1991–1992: Cooleyhighharmony and "End of the Road"
Boyz II Men's first album, Cooleyhighharmony, was released on Motown in 1991 and was produced by Michael Bivins. Cooleyhighharmonys drum-heavy new jack swing sound and multi-layered sampled backdrops were similar to that of Bell Biv DeVoe's own work, but featured classic-soul styled vocals in place of BBD's rapping and brassier singing. This style was dubbed "hip hop doo-wop" by the group and Bivins, who presented Boyz II Men and adolescent R&B group Another Bad Creation to the public as BBD's protégés.
From the beginning, Boyz II Men featured all four members as leads, avoiding the usual R&B group arrangement of one or two lead singers and a team of background singers. The multiple-lead arrangement became a Boyz II Men trademark, and it became typical to hear Wanya Morris' vibrato-heavy tenor, Shawn Stockman's tenor voice, Nathan Morris' baritone, and Michael McCary's bass (often used in spoken-word sections of many Boyz II Men hits) trading bars in each song.
The album's liner notes identified unique nicknames for each member of the group. These nicknames were devised in collaboration with Bivins in an attempt at marketing. Wanya was "Squirt", Shawn was "Slim", Michael was simply "Bass", and Nathan assumed the name "Alex Vanderpool", after a soap opera character who brandished a nerdy style.
Boyz II Men's first single, the Dallas Austin-produced "Motownphilly" featured a rap cameo by Michael Bivins that gives the story of how he met Boyz II Men. The single's release was accompanied with a music video that presented the group in hip hop style. (The video also included cameos from fellow Philadelphia High School for Creative and Performing Arts alumni Black Thought and Questlove of The Roots.) Cooleyhighharmonys second single was an a cappella cover of a classic Motown tune, G.C. Cameron's "It's So Hard to Say Goodbye to Yesterday" from the 1975 film Cooley High, while "Uhh Ahh" served as the third single.
Cooleyhighharmony achieved major success, eventually selling over nine million copies and winning the Grammy Award for Best R&B Performance by a Duo or Group with Vocals at the 1992 Grammy Awards. Boyz II Men were also nominated for Best New Artist, along with British singer-songwriter Seal, fellow R&B group Color Me Badd, as well as dance group C+C Music Factory, but the Grammy was awarded to singer-songwriter Marc Cohn. "Motownphilly" and "It's So Hard to Say Goodbye to Yesterday" were number 1 R&B hits and top five U.S. pop hits.
In 1992, Boyz II Men joined MC Hammer's high-profile 2 Legit 2 Quit tour as an opening act. While traveling the country, their tour manager Khalil Roundtree was murdered in Chicago, and the group's future performances of "It's So Hard to Say Goodbye to Yesterday" were dedicated to him. As a result of this unfortunate experience, the song helped advance their success.
While touring during 1992, Boyz II Men returned briefly to the studio to record the single "End of the Road", co-written and produced by Kenneth "Babyface" Edmonds, for the soundtrack to Eddie Murphy's film Boomerang. This song, released as a single on June 30, 1992, became Boyz II Men's biggest hit. It reached the number one position on the Billboard Hot 100 on August 15, remaining there for a record-setting 13 weeks, until November 14, 1992. The success of "End of the Road" instantly transformed Boyz II Men from up-and-coming R&B stars into mainstream music celebrities.
A revamped Cooleyhighharmony was reissued during 1993, with "End of the Road" added as a special bonus track, but "End of the Road" initially appeared only on the Boomerang soundtrack. Later the track was included on a collection of singles produced by Michael Bivins called "East Coast Family, Vol. 1". Shortly after the release of this compilation, Boyz II Men and Michael Bivins parted ways professionally. Boyz II Men continued to work with Babyface and other high-profile record producers over the next several years.
1994: II and "I'll Make Love to You"
After releasing a Christmas compilation, Christmas Interpretations in 1993, Boyz II Men returned to the studio for their highly anticipated sophomore effort. In 1994, II was released. II sold more than copies in the United States alone, becoming one of the best-selling albums ever released by an R&B group act, and one of the biggest albums of the decade. II later won two awards at the 1995 Grammy Awards including Best R&B Album.
Most of the tracks on II were written and produced by Tim & Bob—Tim Kelley and Bob Robinson (5), Babyface (2) and the successful team of Jimmy Jam and Terry Lewis (2). Several of IIs tracks became major singles, among them Jam & Lewis's "On Bended Knee", and Babyface's "I'll Make Love to You" and "Water Runs Dry".
"I'll Make Love to You" broke "End of the Road's" 13-week record at number 1, by spending 14 weeks at the top of the chart (a feat equaled earlier that year by Whitney Houston's cover of "I Will Always Love You"). "On Bended Knee" replaced "I'll Make Love to You" at number 1, making Boyz II Men only the third act ever to replace itself at number 1 on the Billboard Hot 100 chart, after Elvis Presley and the Beatles.
In 1995, the group appeared as backing vocalists on "HIStory" from Michael Jackson's Grammy-nominated ninth album of the same name.
1997–1998: Evolution and label conflicts
Motown issued The Remix Collection, a compilation of remixes of various Boyz II Men songs from Cooleyhighharmony and II. The group itself had opposed the release of the collection because they felt the compilation did not represent Boyz II Men's best work. After the label released the album without their permission, there was a dispute between the company and the group. Boyz II Men initiated their own recording company Stonecreek (which released material by artists such as Uncle Sam), and they arranged for Stonecreek's distribution by Epic Records, not Motown.
Boyz II Men's third studio album, Evolution, was released during 1997 to mixed reviews and sold three million copies, far below the stratospheric success of IIs ( copies) and Cooleyhighharmony (). Only one of Evolutions singles, the Jam/Lewis-penned "Four Seasons of Loneliness", reached number 1 on the Hot 100 chart. The second single, the Babyface-helmed "A Song for Mama" (the theme song to the Babyface-produced film Soul Food) was a Top 10 success, but the follow-up "Can't Let Her Go" underperformed.
The global tour began in 1997 to promote Evolution was successful in terms of ticket sales, but behind the scenes, Boyz II Men was wracked by conflicts with their record label and internal conflicts among the members of the group. Making matters worse, health problems began to take their toll on the group. While on tour to support the Evolution album, Wanya Morris developed a polyp on his vocal cords, and the group was forced to postpone part of the tour until he recovered. McCary's multiple sclerosis meant that he was unable to participate in most of the group's dance routines.
Boyz II Men were nominated for 2 Grammys in 1998: Best R&B Album for Evolution and Best R&B Vocal Performance by a Duo or Group for "A Song for Mama".
1999–2001: Nathan Michael Shawn Wanya
In 1999, Motown's parent company, PolyGram, was bought by Universal Music Group. Amidst the major corporate restructure, Motown was merged with UMG's Universal Records, where Boyz II Men found themselves reassigned.
Their only studio LP album for Universal, 2000's Nathan Michael Shawn Wanya, was chiefly written and produced by the group itself, in an attempt to update their sound and ward off critics who questioned the group's reliance on Babyface's hit-making songcraft. While the critics were more receptive to Nathan Michael Shawn Wanya than they had been to its predecessor, the LP sold only 500,000 copies in the US, copies worldwide, and although its two singles, "Pass You By" and "Thank You in Advance" received media attention, neither became hits.
Boyz II Men departed from Universal in 2001, ending their relationship with the company that brought them to international stardom in 1991. The label released a very successful greatest hits compilation, Legacy: The Greatest Hits Collection, to close out their contract.
2002–2003: Full Circle and "The Color of Love"
Signing a new deal with Arista Records in 2002, Boyz II Men began recording the Full Circle album, and recruited Babyface for a new single, "The Color of Love". In an attempt to recapture the massive success the group had enjoyed a decade earlier, the album received a significant promotional budget. Arista commissioned a high-budget music video, shot in four different locales by four different directors: supervising director Little X filmed scenes featuring Michael McCary in India, Hype Williams filmed Shawn Stockman in Tokyo, Benny Boom filmed Nathan Morris in Ghana, and Chris Robinson filmed Wanya Morris in Puerto Rico and finally all were filmed in New York. The resulting music video had a debut on BET, but failed to have a great effect, and Full Circle, like Nathan Michael Shawn Wanya before it, sold slightly more than 500,000 copies in the US and copies worldwide.
Full Circle became Boyz II Men's final album as a quartet, and their last effort to receive extensive promotion from a major record company. On , 2003, Michael McCary left Boyz II Men due to chronic back problems resulting from multiple sclerosis (MS) and personal problems. Arista terminated Boyz II Men's contract on , and the remaining three members took a temporary hiatus from the music industry.
2004–2006: Throwback, Vol. 1 and The Remedy
After a year out of the spotlight, Boyz II Men created the independent label MSM Music Group (distributed through Koch Records), and released the Throwback, Vol. 1 LP in 2004. The album is a collection of covers of classic R&B and soul songs such as The Dazz Band's "Let It Whip", Michael Jackson's "Human Nature", and, as the single, Bobby Caldwell's "What You Won't Do for Love". For this record, Nathan took on the bass lines as well as the baritone vocals that he sang when Boyz II Men was a quartet. Throwback, Vol. 1 reached number 59 on the Billboard 200. The group launched an independent tour of North America and Asia in support of the Throwback series. The album sold over 200,000 copies with little to no promotion aside from the group's independent tour.
In 2005 Boyz II Men recorded a CD with Anderson Cameau called "Apocalypse", a project meant to benefit Haiti.
In 2006, Boyz II Men's seventh studio album, The Remedy, was released exclusively in Japan, where they found a thriving fan base. In other regions, The Remedy was made available online through the group's website on , 2007.
2007–2008: Hitsville USA
In mid-2007, the group re-signed with Universal Records and released the LP Motown: A Journey Through Hitsville USA through the Decca Records label. The LP is a cover album featuring songs from the Motown Records catalog, co-produced by Randy Jackson of American Idol fame. The Motown album includes covers of songs by The Temptations ("Just My Imagination (Running Away with Me)"), Marvin Gaye ("Ain't Nothing Like the Real Thing", "Mercy Mercy Me"), Smokey Robinson & the Miracles ("The Tracks of My Tears"), and even Boyz II Men themselves (an a cappella version of "End of the Road").
Commercially, Motown found some success. It peaked at number 6 on the US R&B chart and was certified Gold in the UK. The album was also a critical success. For the 51st Annual Grammy Awards in 2009, Boyz II Men received two nominations for the album Motown: A Journey Through Hitsville USA (Best R&B Album and Best R&B Performance by a Duo or Group with Vocals for "Ribbon in the Sky").
In 2008, Boyz II Men's three members appeared on Celebrity Don't Forget the Lyrics and created a sensation with their performance. They earned $500,000 for their two nominated charities; the appearance also generated interest in their next release.
2009: Love
In 2009, Boyz II Men announced plans for a new cover album, that covers "artists I don't think people would expect us to cover!" according to Shawn Stockman. Entitled Love, the album was released on , 2009. The album contains remakes of love songs from outside the R&B genre.
2011–2012: Love Cruise and Twenty
Boyz II Men headlined a "Love Cruise" in honor of their 20th anniversary and in observance of Valentine's Day. The cruise took place –14, 2011, and traveled from Miami, Florida, to Nassau, Bahamas. Cruise passengers received a Boyz II Men welcome cocktail party, a concert performance by Boyz II Men, an additional fan appreciation concert by Boyz II Men, a photo session with Boyz II Men (in small groups), a formal prom night, a poker tournament, a deck party with Boyz II Men and a guest DJ, a singles mixer, a gift bag, and onboard drawings for other Boyz II Men events. Couples were able to renew their wedding vows in a special ceremony with Boyz II Men.
Twenty, named in recognition of Boyz II Men's twenty years in the music business, is a double CD album with thirteen original songs and eight rerecorded Boyz II Men classics. It was released on October 25, 2011. Twenty is the group's fourth release through MSM Music Group. It was released in Japan 13 days before its official US release date with the help of Avex Group, the biggest Japanese independent record label.
Originally, Boyz II Men announced a reunion with original member Michael McCary for the Twenty album. On September 6, 2009, at a concert in Virginia Beach, Virginia, Stockman announced that their upcoming 20th anniversary album would "include all 4 members", sparking a tremendous applause.
But soon after that announcement, McCary declined and did not join the project.
As a trio, Boyz II Men performed as special guests on VH1's highly rated VH1 Divas Celebrate Soul concert.
Boyz II Men contributed a cover of Japanese rock band L'Arc~en~Ciel's song "Snow Drop" to their 2012 tribute album.
2013–present: The Package Tour, Collide, and Geico Commercials
On January 22, 2013, the group appeared on The View along with New Kids on the Block and 98 Degrees to announce their joint tour that took place in summer 2013. As of February 20, 2013, Boyz II Men announced that beginning March 1, 2013, they will stop touring and begin performing shows at the Mirage Hotel and Casino in Las Vegas.
On January 13, 2014, the trio appeared at the end of an episode of How I Met Your Mother titled "Slapsgiving 3: Slappointment in Slapmarra", performing an a cappella version of the show's song "You Just Got Slapped". Their eleventh album, titled Collide, was released on October 21, 2014.
In 2016, the trio appeared in Grease: Live as the Teen Angels and sang Beauty School Dropout.
Wanya placed 4th for the 22nd season of the ABC realty competition series Dancing With The Stars. They also did music for an animated adaptation of The Snowy Day.
In 2017, the group began starring in television commercials for GEICO Auto Insurance.
On June 24, 2017, a section of Broad Street in Philadelphia, from Christian to Carpenter Streets, was renamed, “Boyz II Men Boulevard” by the city council. Philadelphia High School for the Creative and Performing Arts, where the members of Boyz II Men were once students, is on this section of Broad Street.
In August 2017, it was announced they were releasing a new album titled Under the Streetlight in the Fall. It was released on October 20, 2017.
On January 4, 2018, the group was featured in a new track released by Charlie Puth, titled "If You Leave Me Now", created for Charlie Puth's album Voicenotes.
On September 6, 2018, the group performed at the NFL 2018–2019 season kickoff at Lincoln Financial Field in Philadelphia, PA.
On October 2, 2018, the group performed "Ladies Man" on ABC's Dancing with the Stars. DeMarcus Ware and Lindsay Arnold danced a quickstep to the song.
The group is featured on a re-imagined version of Take That's song Love Ain't Here Anymore from their number one selling album Odyssey. Howard Donald revealed during an interview with Magic Radio that "he fulfilled a dream when they recorded this song".
On December 15, 2018, the group staged a concert at the Smart Araneta Coliseum with Filipino girl group DIVAS—a group composed of Kyla, Yeng Constantino, KZ Tandingan and Angeline Quinto titled Boyz II Men with DIVAS.
On September 18, 2019, it was reported that the group would play themselves on the ABC comedy series Schooled.
On September 30, 2019, Boyz II Men announced their Asia Tour, which is slated to take place after returning from their US tour and residency in Las Vegas. They will be visiting cities such as Kuala Lumpur, Bangkok (December 7), Singapore (December 9) and Manila.
Style and influence
Boyz II Men is among the biggest names in a cappella and R&B. With what was called "crossover appeal", Boyz II Men found themselves at the vanguard of the 1990s movement to take R&B back into the mainstream, where it had been back in the 1970s. Their use of hip-hop beats in combination with R&B was not unique, but it was Boyz II Men's enormous success with mainstream audiences in "putting harmony over the hip-hop tracks" that helped usher in the near-total dominance of the R&B genre on the pop charts in the 2000s and 2010s. On January 5, 2012, Boyz II Men were awarded a star on the Hollywood Walk of Fame. They were featured on the first episode of the 2021 Netflix series This Is Pop, called "The Boyz II Men Effect", about their impact on the boy band scene in the 1990s.
Members
Current
Nathan Morris (1985–present)
Wanya Morris (1987–present)
Shawn Stockman (1988–present)
Former
Michael McCary (1988–2003)
Marc Nelson (1985–1990)
George Baldi (1985–1988)
Jon Shoats (1985–1988)
Marguerite Walker (1985–1988)
Discography
Studio albums
Cooleyhighharmony (1991)
Christmas Interpretations (1993)
II (1994)
Evolution (1997)
Nathan Michael Shawn Wanya (2000)
Full Circle (2002)
Throwback, Vol. 1 (2004)
The Remedy (2006)
Motown: A Journey Through Hitsville USA (2007)
Love (2009)
Twenty (2011)
Collide (2014)
Under the Streetlight (2017)
Filmography
"Going Home" (1995): A Disney Channel concert special filmed during Boyz II Men's "All Around the World Tour" live from the Alamodome in San Antonio, Texas.
The group makes a guest appearance in fourth season episode "Twas the Night Before Christening of The Fresh Prince of Bel-Air in which they sing at Nicky's christening (1993).
"Living In Paradise?" (2000): They appeared as themselves on the hit show Moesha.
Long Shot: They appear as themselves performing at a charity event.
This Is Pop (2021): They are featured on the episode "The Boyz II Men Effect".
Celebrity Wheel of Fortune (2021): Wanya and Shawn play to win money for charities of their choice.
A Very Boyband Christmas (2021): Wanya and Shawn join members of 'Nsync, 98 Degrees and other boy bands to celebrate the holidays.
Live in Front of a Studio Audience (2021): The group performs the theme song of Diff'rent Strokes as the intro to the special’s reenactment of "Willis’s Privacy".
Awards and nominations
American Music Awards
|-
!scope="row" rowspan= "5" | 1992
!scope="row" rowspan= "3" |Boyz II Men
|Favorite Soul/R&B New Artist
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|Favorite Pop/Rock New Artist
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|-
|Favorite Soul/R&B Band/Duo/Group
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|-
|"Motownphilly"
|Favorite Soul/R&B Single
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|-
|Cooleyhighharmony
|Favorite Soul/R&B Album
|
|-
!scope="row" rowspan= "2" | 1993
|"End of the Road"
|Favorite Pop/Rock Song
|
|-
!scope="row" rowspan= "3"|Boyz II Men
!scope="row" rowspan= "2"|Favorite Soul/R&B Band/Duo/Group
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|-
!scope="row" rowspan= "4" | 1995
|
|-
|Favorite Adult Contemporary Artist
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|-
!scope="row" rowspan= "2"|"I'll Make Love to You"
|Favorite Soul/R&B Single
|
|-
|Favorite Pop/Rock Song
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|-
!scope="row" rowspan= "5" | 1996
!scope="row" rowspan= "2"|II
|Favorite Soul/R&B Album
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|-
|Favorite Pop/Rock Album
|
|-
!scope="row" rowspan= "4"|Boyz II Men
|Artist of the Year
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|-
|Favorite Pop/Rock Band/Duo/Group
|
|-
!scope="row" rowspan= "2"|Favorite Soul/R&B Band/Duo/Group
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|-
| 1998
|
|-
Billboard Music Awards
|-
!scope="row" rowspan= "2" | 1992
|Boyz II Men
|Top Hot 100 Artist
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|-
|"End of the Road"
!scope="row" rowspan= "2" | Top Hot 100 Song
|
|-
| 1994
|"I'll Make Love to You"
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|-
!scope="row" rowspan= "3" | 1995
|II
|Top Billboard 200 Album
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|-
!scope="row" rowspan= "2" | Boyz II Men
|Top Artist
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|-
|Top R&B Artist
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|-
!scope="row" rowspan= "2" | 1996
!scope="row" rowspan= "2" | "One Sweet Day" (with Mariah Carey)
|Top Hot 100 Song
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|Billboard Music Special Hot 100
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|-
Grammy Awards
|-
!scope="row" rowspan= "2" | 1992
|Boyz II Men
|Best New Artist
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|-
|Cooleyhighharmony
!scope="row" rowspan= "4"|Best R&B Performance by a Duo or Group with Vocal
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|-
| 1993
|"End of the Road"
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|-
| 1994
|"Let It Snow"
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|-
!scope="row" rowspan= "3" | 1995
|!scope="row" rowspan= "2"|"I'll Make Love To You"
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|-
|Record of the Year
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|-
|II
|Best R&B Album
|
|-
!scope="row" rowspan= "2" | 1996
|!scope="row" rowspan= "2"|"One Sweet Day" (with Mariah Carey)
|Record of the Year
|
|-
|Best Pop Collaboration with Vocals
|
|-
!scope="row" rowspan= "2" | 1998
|"A Song For Mama"
|Best R&B Performance by a Duo or Group with Vocal
|
|-
|Evolution
!scope="row" rowspan= "2"|Best R&B Album
|
|-
!scope="row" rowspan= "2" | 2001
|Nathan Michael Shawn Wanya
|
|-
|"Pass You By"
!scope="row" rowspan= "2"|Best R&B Performance By a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "2" | 2009
|"Ribbon In The Sky"
|
|-
|Motown: A Journey Through Hitsville USA
|Best R&B Album
|
|-
MTV Video Music Awards
!Ref.
|-
| 1993
| "End of the Road"
| rowspan=2|Best R&B Video
|
| rowspan=4|
|-
| rowspan=2|1995
| rowspan=2|"Water Runs Dry"
|
|-
| Best Cinematography
|
|-
| 1996
| "One Sweet Day" (with Mariah Carey)
| Best R&B Video
|
Soul Train Music Awards
|-
|1992
|Boyz II Men
|Best New R&B/Soul Artist
|
|-
!scope="row" rowspan= "3"|1993
!scope="row" rowspan= "2"|"End of the Road"
|Song of the Year
|
|-
|Best R&B Music Video
|
|-
|"Please Don't Go"
|Best R&B Single – Group, Band or Duo
|
|-
!scope="row" rowspan= "2"|1995
|II
|R&B/Soul Album Group, Band or Duo
|
|-
|"I'll Make Love to You"
|R&B/Soul Single Group, Band or Duo
|
|-
|1996
|Boyz II Men
|Entertainer of the Year
|
|-
|1998
|Evolution
!scope="row" rowspan= "2"|Best R&B/Soul Album - Group, Band or Duo
|
|-
|2003
|Full Circle
|
|-
See also
List of best-selling music artists
List of artists who reached number one in the United States
References
External links
African-American musical groups
American contemporary R&B musical groups
American vocal groups
Ballad music groups
American boy bands
Grammy Award winners
Motown artists
Musical groups established in 1988
Musical groups from Philadelphia
Musical quartets
Musical trios
Sony Music Publishing artists
Vocal quartets
Vocal trios
Avex Group artists
| true |
[
"The Wrongstar Society is an English electronic rock group. Despite their reputation as breakbeat producers, they also have tracks which involve session guitarists, punk rock vocalists and harmonicas.\n\nMembers \nJames Donoghue - DJ, producer, engineer\nLuke Moore - MC and songwriter\nDavid Donoghue - DJ, producer and engineer\nJoe Moore - MC and songwriter\n\nThe group were first signed to Unstable Label and released their first CD album entitled Beats, Rhymes and Conflicts, on August 4, 2008 2008. \"Beautiful\" was the group's first single, which received major UK airplay. The group has had regular national radio shows, including interviews on Kiss 100 with Jay Cunning, Galaxy FM with Rennie Pilgrem and BBC Radio 1 with Annie Nightingale.\n\nThe Wrongstars are currently signed to Leeroy Thornhill's label 'Electric Tastebuds' and released their first single on this label in March 2009.\n\nDiscography\n\nStudio albums\n 2008: Beats, Rhymes & Conflicts\n\nSingles\n 2007: \"Beautiful\" / \"Battle\" / \"Battle (Merka Remix)\" (Released on CD, Vinyl & MP3)\n 2007: \"Decapitate\" / \"Bring You Down (Beta Remix)\" (Released as an exclusive free promotional track as an MP3 download only )\n 2008: \"Give It To Them\" / \"Freakshow\" / \"Bring You Down (Affinity remix)\" (Released on CD, Vinyl & MP3)\n 2009: \"Get Wrong / Dog Brain Soup\"\n\nRemixes\n 2008: \"Jagged Slap - 10 Pence Short (The Wrongstars Remix)\"\n 2009: \"Paul Lyman - Break Through (The Wrongstars Remix)\"\n 2009: \"Freerange DJ's - Your Mind, Your Passion (The Wrongstars Remix)\"\n 2010: \"601 - Punch The Clown (The Wrongstars Remix)\"\n\nNotes and references\n\nEnglish electro musicians\nAlternative hip hop groups\nBig beat groups\nBreakbeat musicians",
"Jester Records was a record label founded in 1998 by Kristoffer Rygg (also known as Garm, Trickster G, G. Wolf and Fiery G. Maelstrom) after conflicts between his band Ulver and their German/American label Century Media Records.\n\nArtists\n 1349 Rykkinn\n Arcturus\n Bogus Blimp\n Anthony Curtis\n Espen Jørgensen\n Esperanza\n Head Control System\n Kåre João\n Origami Galaktika\n Rotoscope\n Single Unit\n Star of Ash\n Ulver\n Upland\n Virus\n When\n Zweizz & Joey Hopkins\n\nSee also\n List of record labels\n\nExternal links\n Official site\n\nNorwegian record labels\nRecord labels established in 1998\nBlack metal record labels"
] |
[
"Boyz II Men",
"1997-98: Evolution and label conflicts",
"Were there any label conflicts?",
"After the label released the album without their permission, there was a dispute between the company and the group."
] |
C_c2bd6b980a07445e913048d7d8ff195c_1
|
Did Boys ll men sue the label?
| 2 |
Did Boys ll men sue the label for releasing the album without the bands permission?
|
Boyz II Men
|
Motown issued The Remix Collection, a compilation of remixes of various Boyz II Men songs from Cooleyhighharmony and II. The group itself had opposed the release of the collection, because they felt the compilation did not represent Boyz II Men's best work. After the label released the album without their permission, there was a dispute between the company and the group. Boyz II Men initiated their own recording company Stonecreek (which released material by artists such as Uncle Sam), and they arranged for Stonecreek's distribution by Epic Records, not Motown. Boyz II Men's third studio album, Evolution, was released during 1997 to mixed reviews and sold three million copies, far below the stratospheric success of II's (12 million copies) and Cooleyhighharmony (9 million). Only one of Evolution's singles, the Jam/Lewis-penned "Four Seasons of Loneliness", reached number 1 on the Hot 100 chart. The second single, the Babyface-helmed "A Song for Mama" (the theme song to the Babyface-produced film Soul Food) was a Top 10 success, but the follow-up "Can't Let Her Go" underperformed. The global tour began in 1997 to promote Evolution was very successful in terms of ticket sales, but behind the scenes, Boyz II Men was wracked by conflicts with their record label and internal conflicts among the members of the group. Making matters worse, health problems began to take their toll on the group as well. While on tour to support the Evolution album, Wanya Morris developed a polyp on his vocal cords, and the group was forced to postpone part of the tour until he recovered. McCary's scoliosis meant that he was unable to participate in most of the group's dance routines. Boyz II Men were nominated for 2 Grammys in 1998: Best R&B Album for Evolution and Best R&B Vocal Performance by a Duo or Group for "A Song for Mama". CANNOTANSWER
|
CANNOTANSWER
|
Boyz II Men (pronounced boys to men), also known as B2M, is an American vocal harmony group from Philadelphia, Pennsylvania, best known for emotional ballads and a cappella harmonies. They are currently a trio composed of baritone Nathan Morris alongside tenors Wanya Morris and Shawn Stockman. During the 1990s, Boyz II Men found fame on Motown Records as a quartet including bass Michael McCary, who left the group in 2003 due to back spasms that were eventually diagnosed as multiple sclerosis.
During the 1990s, Boyz II Men gained international success. This began with the release of top 5 singles "Motownphilly" and "It's So Hard to Say Goodbye to Yesterday" in 1991, followed by the number one single "End of the Road" in 1992, which reached the top of charts worldwide. "End of the Road" set a new record for longevity, staying at number one on the Billboard Hot 100 for thirteen weeks. Boyz II Men proceeded to break this record with the subsequent releases of "I'll Make Love to You" and "One Sweet Day" (with Mariah Carey), which, at fourteen and sixteen weeks, respectively, each set new records for the total number of weeks at number one. "I'll Make Love to You" also topped the charts in Australia (for four weeks) and garnered international success.
Consequently, Boyz II Men is among the music industry's elite with regard to time spent at number one in Billboard history with 50 cumulative weeks, ranking sixth behind Drake, the Beatles, Rihanna, Elvis Presley and Carey. Furthermore, when "On Bended Knee" took the number one spot away from "I'll Make Love to You", Boyz II Men became only the third artists ever (after the Beatles and Presley) to replace themselves at the top of the Billboard Hot 100. These achievements were enough to earn Boyz II Men recognition as Billboard magazine's biggest boy band during the period of 1987 to 2012. Boyz II Men has received four Grammy Awards.
Boyz II Men continue to perform worldwide, as a trio. Their most recent studio album, Under the Streetlight, was released in 2017.
In June 2017, a section of Broad Street (from Christian to Carpenter Streets) in Philadelphia was renamed "Boyz II Men Boulevard". This section of the street is near the High School for the Creative and Performing Arts, where the members once attended.
History
1985–1990: Beginnings
The group, originally known as Unique Attraction, was started by friends Nathan Morris and Marc Nelson at the Philadelphia High School for the Creative and Performing Arts (CAPA) along with fellow schoolmates George Baldi, Jon Shoats, and Marguerite Walker in 1985. In 1987, Wanya Morris, who sang in the school's choir along with the members of Unique Attraction, joined the group and became a permanent member when he was only a freshman. In 1988 Baldi, Shoats, and Walker all left the group due to graduation. They then recruited Shawn Stockman after seeing him perform a solo in the school's choir. One day, Nate, Marc, Wanya and Shawn were practicing harmonies in a school bathroom and in walked Michael McCary who started singing along with the group and eventually became the group's new bass singer. Now with a permanent lineup of members, the group rehearsed in the high school's bathrooms, due to the excellent acoustics, and on the corners of their schools and local hangouts. They found inspiration in New Edition's harmonies and routines, and eventually renamed the group "Boyz II Men", after one of New Edition's songs, "Boys to Men", from their 1988 album Heart Break. After performing at a Valentine's Day party at school in 1989 they got their big break when they snuck into a concert put on by local radio station Power 99 at the Philadelphia Civic Center. Their plan was to find Will Smith backstage and perform for him. But while looking for Smith, they happened to cross paths with New Edition member Michael Bivins, who along with fellow groupmates Ricky Bell and Ronnie DeVoe just announced they were forming a New Edition spin-off trio Bell Biv DeVoe. After they sang New Edition's "Can You Stand the Rain" for him, Bivins and everyone in attendance including other celebrities were impressed. He then gave the group his number and told them to give him a call. Nate eventually called him, and he agreed to manage and helped produce the group.
The delay before recording their own material and reported personality conflicts led founding member Marc Nelson to leave the group, making Boyz II Men into the quartet that found international fame: Michael McCary, Nathan Morris, Wanya Morris, and Shawn Stockman.
1991–1992: Cooleyhighharmony and "End of the Road"
Boyz II Men's first album, Cooleyhighharmony, was released on Motown in 1991 and was produced by Michael Bivins. Cooleyhighharmonys drum-heavy new jack swing sound and multi-layered sampled backdrops were similar to that of Bell Biv DeVoe's own work, but featured classic-soul styled vocals in place of BBD's rapping and brassier singing. This style was dubbed "hip hop doo-wop" by the group and Bivins, who presented Boyz II Men and adolescent R&B group Another Bad Creation to the public as BBD's protégés.
From the beginning, Boyz II Men featured all four members as leads, avoiding the usual R&B group arrangement of one or two lead singers and a team of background singers. The multiple-lead arrangement became a Boyz II Men trademark, and it became typical to hear Wanya Morris' vibrato-heavy tenor, Shawn Stockman's tenor voice, Nathan Morris' baritone, and Michael McCary's bass (often used in spoken-word sections of many Boyz II Men hits) trading bars in each song.
The album's liner notes identified unique nicknames for each member of the group. These nicknames were devised in collaboration with Bivins in an attempt at marketing. Wanya was "Squirt", Shawn was "Slim", Michael was simply "Bass", and Nathan assumed the name "Alex Vanderpool", after a soap opera character who brandished a nerdy style.
Boyz II Men's first single, the Dallas Austin-produced "Motownphilly" featured a rap cameo by Michael Bivins that gives the story of how he met Boyz II Men. The single's release was accompanied with a music video that presented the group in hip hop style. (The video also included cameos from fellow Philadelphia High School for Creative and Performing Arts alumni Black Thought and Questlove of The Roots.) Cooleyhighharmonys second single was an a cappella cover of a classic Motown tune, G.C. Cameron's "It's So Hard to Say Goodbye to Yesterday" from the 1975 film Cooley High, while "Uhh Ahh" served as the third single.
Cooleyhighharmony achieved major success, eventually selling over nine million copies and winning the Grammy Award for Best R&B Performance by a Duo or Group with Vocals at the 1992 Grammy Awards. Boyz II Men were also nominated for Best New Artist, along with British singer-songwriter Seal, fellow R&B group Color Me Badd, as well as dance group C+C Music Factory, but the Grammy was awarded to singer-songwriter Marc Cohn. "Motownphilly" and "It's So Hard to Say Goodbye to Yesterday" were number 1 R&B hits and top five U.S. pop hits.
In 1992, Boyz II Men joined MC Hammer's high-profile 2 Legit 2 Quit tour as an opening act. While traveling the country, their tour manager Khalil Roundtree was murdered in Chicago, and the group's future performances of "It's So Hard to Say Goodbye to Yesterday" were dedicated to him. As a result of this unfortunate experience, the song helped advance their success.
While touring during 1992, Boyz II Men returned briefly to the studio to record the single "End of the Road", co-written and produced by Kenneth "Babyface" Edmonds, for the soundtrack to Eddie Murphy's film Boomerang. This song, released as a single on June 30, 1992, became Boyz II Men's biggest hit. It reached the number one position on the Billboard Hot 100 on August 15, remaining there for a record-setting 13 weeks, until November 14, 1992. The success of "End of the Road" instantly transformed Boyz II Men from up-and-coming R&B stars into mainstream music celebrities.
A revamped Cooleyhighharmony was reissued during 1993, with "End of the Road" added as a special bonus track, but "End of the Road" initially appeared only on the Boomerang soundtrack. Later the track was included on a collection of singles produced by Michael Bivins called "East Coast Family, Vol. 1". Shortly after the release of this compilation, Boyz II Men and Michael Bivins parted ways professionally. Boyz II Men continued to work with Babyface and other high-profile record producers over the next several years.
1994: II and "I'll Make Love to You"
After releasing a Christmas compilation, Christmas Interpretations in 1993, Boyz II Men returned to the studio for their highly anticipated sophomore effort. In 1994, II was released. II sold more than copies in the United States alone, becoming one of the best-selling albums ever released by an R&B group act, and one of the biggest albums of the decade. II later won two awards at the 1995 Grammy Awards including Best R&B Album.
Most of the tracks on II were written and produced by Tim & Bob—Tim Kelley and Bob Robinson (5), Babyface (2) and the successful team of Jimmy Jam and Terry Lewis (2). Several of IIs tracks became major singles, among them Jam & Lewis's "On Bended Knee", and Babyface's "I'll Make Love to You" and "Water Runs Dry".
"I'll Make Love to You" broke "End of the Road's" 13-week record at number 1, by spending 14 weeks at the top of the chart (a feat equaled earlier that year by Whitney Houston's cover of "I Will Always Love You"). "On Bended Knee" replaced "I'll Make Love to You" at number 1, making Boyz II Men only the third act ever to replace itself at number 1 on the Billboard Hot 100 chart, after Elvis Presley and the Beatles.
In 1995, the group appeared as backing vocalists on "HIStory" from Michael Jackson's Grammy-nominated ninth album of the same name.
1997–1998: Evolution and label conflicts
Motown issued The Remix Collection, a compilation of remixes of various Boyz II Men songs from Cooleyhighharmony and II. The group itself had opposed the release of the collection because they felt the compilation did not represent Boyz II Men's best work. After the label released the album without their permission, there was a dispute between the company and the group. Boyz II Men initiated their own recording company Stonecreek (which released material by artists such as Uncle Sam), and they arranged for Stonecreek's distribution by Epic Records, not Motown.
Boyz II Men's third studio album, Evolution, was released during 1997 to mixed reviews and sold three million copies, far below the stratospheric success of IIs ( copies) and Cooleyhighharmony (). Only one of Evolutions singles, the Jam/Lewis-penned "Four Seasons of Loneliness", reached number 1 on the Hot 100 chart. The second single, the Babyface-helmed "A Song for Mama" (the theme song to the Babyface-produced film Soul Food) was a Top 10 success, but the follow-up "Can't Let Her Go" underperformed.
The global tour began in 1997 to promote Evolution was successful in terms of ticket sales, but behind the scenes, Boyz II Men was wracked by conflicts with their record label and internal conflicts among the members of the group. Making matters worse, health problems began to take their toll on the group. While on tour to support the Evolution album, Wanya Morris developed a polyp on his vocal cords, and the group was forced to postpone part of the tour until he recovered. McCary's multiple sclerosis meant that he was unable to participate in most of the group's dance routines.
Boyz II Men were nominated for 2 Grammys in 1998: Best R&B Album for Evolution and Best R&B Vocal Performance by a Duo or Group for "A Song for Mama".
1999–2001: Nathan Michael Shawn Wanya
In 1999, Motown's parent company, PolyGram, was bought by Universal Music Group. Amidst the major corporate restructure, Motown was merged with UMG's Universal Records, where Boyz II Men found themselves reassigned.
Their only studio LP album for Universal, 2000's Nathan Michael Shawn Wanya, was chiefly written and produced by the group itself, in an attempt to update their sound and ward off critics who questioned the group's reliance on Babyface's hit-making songcraft. While the critics were more receptive to Nathan Michael Shawn Wanya than they had been to its predecessor, the LP sold only 500,000 copies in the US, copies worldwide, and although its two singles, "Pass You By" and "Thank You in Advance" received media attention, neither became hits.
Boyz II Men departed from Universal in 2001, ending their relationship with the company that brought them to international stardom in 1991. The label released a very successful greatest hits compilation, Legacy: The Greatest Hits Collection, to close out their contract.
2002–2003: Full Circle and "The Color of Love"
Signing a new deal with Arista Records in 2002, Boyz II Men began recording the Full Circle album, and recruited Babyface for a new single, "The Color of Love". In an attempt to recapture the massive success the group had enjoyed a decade earlier, the album received a significant promotional budget. Arista commissioned a high-budget music video, shot in four different locales by four different directors: supervising director Little X filmed scenes featuring Michael McCary in India, Hype Williams filmed Shawn Stockman in Tokyo, Benny Boom filmed Nathan Morris in Ghana, and Chris Robinson filmed Wanya Morris in Puerto Rico and finally all were filmed in New York. The resulting music video had a debut on BET, but failed to have a great effect, and Full Circle, like Nathan Michael Shawn Wanya before it, sold slightly more than 500,000 copies in the US and copies worldwide.
Full Circle became Boyz II Men's final album as a quartet, and their last effort to receive extensive promotion from a major record company. On , 2003, Michael McCary left Boyz II Men due to chronic back problems resulting from multiple sclerosis (MS) and personal problems. Arista terminated Boyz II Men's contract on , and the remaining three members took a temporary hiatus from the music industry.
2004–2006: Throwback, Vol. 1 and The Remedy
After a year out of the spotlight, Boyz II Men created the independent label MSM Music Group (distributed through Koch Records), and released the Throwback, Vol. 1 LP in 2004. The album is a collection of covers of classic R&B and soul songs such as The Dazz Band's "Let It Whip", Michael Jackson's "Human Nature", and, as the single, Bobby Caldwell's "What You Won't Do for Love". For this record, Nathan took on the bass lines as well as the baritone vocals that he sang when Boyz II Men was a quartet. Throwback, Vol. 1 reached number 59 on the Billboard 200. The group launched an independent tour of North America and Asia in support of the Throwback series. The album sold over 200,000 copies with little to no promotion aside from the group's independent tour.
In 2005 Boyz II Men recorded a CD with Anderson Cameau called "Apocalypse", a project meant to benefit Haiti.
In 2006, Boyz II Men's seventh studio album, The Remedy, was released exclusively in Japan, where they found a thriving fan base. In other regions, The Remedy was made available online through the group's website on , 2007.
2007–2008: Hitsville USA
In mid-2007, the group re-signed with Universal Records and released the LP Motown: A Journey Through Hitsville USA through the Decca Records label. The LP is a cover album featuring songs from the Motown Records catalog, co-produced by Randy Jackson of American Idol fame. The Motown album includes covers of songs by The Temptations ("Just My Imagination (Running Away with Me)"), Marvin Gaye ("Ain't Nothing Like the Real Thing", "Mercy Mercy Me"), Smokey Robinson & the Miracles ("The Tracks of My Tears"), and even Boyz II Men themselves (an a cappella version of "End of the Road").
Commercially, Motown found some success. It peaked at number 6 on the US R&B chart and was certified Gold in the UK. The album was also a critical success. For the 51st Annual Grammy Awards in 2009, Boyz II Men received two nominations for the album Motown: A Journey Through Hitsville USA (Best R&B Album and Best R&B Performance by a Duo or Group with Vocals for "Ribbon in the Sky").
In 2008, Boyz II Men's three members appeared on Celebrity Don't Forget the Lyrics and created a sensation with their performance. They earned $500,000 for their two nominated charities; the appearance also generated interest in their next release.
2009: Love
In 2009, Boyz II Men announced plans for a new cover album, that covers "artists I don't think people would expect us to cover!" according to Shawn Stockman. Entitled Love, the album was released on , 2009. The album contains remakes of love songs from outside the R&B genre.
2011–2012: Love Cruise and Twenty
Boyz II Men headlined a "Love Cruise" in honor of their 20th anniversary and in observance of Valentine's Day. The cruise took place –14, 2011, and traveled from Miami, Florida, to Nassau, Bahamas. Cruise passengers received a Boyz II Men welcome cocktail party, a concert performance by Boyz II Men, an additional fan appreciation concert by Boyz II Men, a photo session with Boyz II Men (in small groups), a formal prom night, a poker tournament, a deck party with Boyz II Men and a guest DJ, a singles mixer, a gift bag, and onboard drawings for other Boyz II Men events. Couples were able to renew their wedding vows in a special ceremony with Boyz II Men.
Twenty, named in recognition of Boyz II Men's twenty years in the music business, is a double CD album with thirteen original songs and eight rerecorded Boyz II Men classics. It was released on October 25, 2011. Twenty is the group's fourth release through MSM Music Group. It was released in Japan 13 days before its official US release date with the help of Avex Group, the biggest Japanese independent record label.
Originally, Boyz II Men announced a reunion with original member Michael McCary for the Twenty album. On September 6, 2009, at a concert in Virginia Beach, Virginia, Stockman announced that their upcoming 20th anniversary album would "include all 4 members", sparking a tremendous applause.
But soon after that announcement, McCary declined and did not join the project.
As a trio, Boyz II Men performed as special guests on VH1's highly rated VH1 Divas Celebrate Soul concert.
Boyz II Men contributed a cover of Japanese rock band L'Arc~en~Ciel's song "Snow Drop" to their 2012 tribute album.
2013–present: The Package Tour, Collide, and Geico Commercials
On January 22, 2013, the group appeared on The View along with New Kids on the Block and 98 Degrees to announce their joint tour that took place in summer 2013. As of February 20, 2013, Boyz II Men announced that beginning March 1, 2013, they will stop touring and begin performing shows at the Mirage Hotel and Casino in Las Vegas.
On January 13, 2014, the trio appeared at the end of an episode of How I Met Your Mother titled "Slapsgiving 3: Slappointment in Slapmarra", performing an a cappella version of the show's song "You Just Got Slapped". Their eleventh album, titled Collide, was released on October 21, 2014.
In 2016, the trio appeared in Grease: Live as the Teen Angels and sang Beauty School Dropout.
Wanya placed 4th for the 22nd season of the ABC realty competition series Dancing With The Stars. They also did music for an animated adaptation of The Snowy Day.
In 2017, the group began starring in television commercials for GEICO Auto Insurance.
On June 24, 2017, a section of Broad Street in Philadelphia, from Christian to Carpenter Streets, was renamed, “Boyz II Men Boulevard” by the city council. Philadelphia High School for the Creative and Performing Arts, where the members of Boyz II Men were once students, is on this section of Broad Street.
In August 2017, it was announced they were releasing a new album titled Under the Streetlight in the Fall. It was released on October 20, 2017.
On January 4, 2018, the group was featured in a new track released by Charlie Puth, titled "If You Leave Me Now", created for Charlie Puth's album Voicenotes.
On September 6, 2018, the group performed at the NFL 2018–2019 season kickoff at Lincoln Financial Field in Philadelphia, PA.
On October 2, 2018, the group performed "Ladies Man" on ABC's Dancing with the Stars. DeMarcus Ware and Lindsay Arnold danced a quickstep to the song.
The group is featured on a re-imagined version of Take That's song Love Ain't Here Anymore from their number one selling album Odyssey. Howard Donald revealed during an interview with Magic Radio that "he fulfilled a dream when they recorded this song".
On December 15, 2018, the group staged a concert at the Smart Araneta Coliseum with Filipino girl group DIVAS—a group composed of Kyla, Yeng Constantino, KZ Tandingan and Angeline Quinto titled Boyz II Men with DIVAS.
On September 18, 2019, it was reported that the group would play themselves on the ABC comedy series Schooled.
On September 30, 2019, Boyz II Men announced their Asia Tour, which is slated to take place after returning from their US tour and residency in Las Vegas. They will be visiting cities such as Kuala Lumpur, Bangkok (December 7), Singapore (December 9) and Manila.
Style and influence
Boyz II Men is among the biggest names in a cappella and R&B. With what was called "crossover appeal", Boyz II Men found themselves at the vanguard of the 1990s movement to take R&B back into the mainstream, where it had been back in the 1970s. Their use of hip-hop beats in combination with R&B was not unique, but it was Boyz II Men's enormous success with mainstream audiences in "putting harmony over the hip-hop tracks" that helped usher in the near-total dominance of the R&B genre on the pop charts in the 2000s and 2010s. On January 5, 2012, Boyz II Men were awarded a star on the Hollywood Walk of Fame. They were featured on the first episode of the 2021 Netflix series This Is Pop, called "The Boyz II Men Effect", about their impact on the boy band scene in the 1990s.
Members
Current
Nathan Morris (1985–present)
Wanya Morris (1987–present)
Shawn Stockman (1988–present)
Former
Michael McCary (1988–2003)
Marc Nelson (1985–1990)
George Baldi (1985–1988)
Jon Shoats (1985–1988)
Marguerite Walker (1985–1988)
Discography
Studio albums
Cooleyhighharmony (1991)
Christmas Interpretations (1993)
II (1994)
Evolution (1997)
Nathan Michael Shawn Wanya (2000)
Full Circle (2002)
Throwback, Vol. 1 (2004)
The Remedy (2006)
Motown: A Journey Through Hitsville USA (2007)
Love (2009)
Twenty (2011)
Collide (2014)
Under the Streetlight (2017)
Filmography
"Going Home" (1995): A Disney Channel concert special filmed during Boyz II Men's "All Around the World Tour" live from the Alamodome in San Antonio, Texas.
The group makes a guest appearance in fourth season episode "Twas the Night Before Christening of The Fresh Prince of Bel-Air in which they sing at Nicky's christening (1993).
"Living In Paradise?" (2000): They appeared as themselves on the hit show Moesha.
Long Shot: They appear as themselves performing at a charity event.
This Is Pop (2021): They are featured on the episode "The Boyz II Men Effect".
Celebrity Wheel of Fortune (2021): Wanya and Shawn play to win money for charities of their choice.
A Very Boyband Christmas (2021): Wanya and Shawn join members of 'Nsync, 98 Degrees and other boy bands to celebrate the holidays.
Live in Front of a Studio Audience (2021): The group performs the theme song of Diff'rent Strokes as the intro to the special’s reenactment of "Willis’s Privacy".
Awards and nominations
American Music Awards
|-
!scope="row" rowspan= "5" | 1992
!scope="row" rowspan= "3" |Boyz II Men
|Favorite Soul/R&B New Artist
|
|-
|Favorite Pop/Rock New Artist
|
|-
|Favorite Soul/R&B Band/Duo/Group
|
|-
|"Motownphilly"
|Favorite Soul/R&B Single
|
|-
|Cooleyhighharmony
|Favorite Soul/R&B Album
|
|-
!scope="row" rowspan= "2" | 1993
|"End of the Road"
|Favorite Pop/Rock Song
|
|-
!scope="row" rowspan= "3"|Boyz II Men
!scope="row" rowspan= "2"|Favorite Soul/R&B Band/Duo/Group
|
|-
!scope="row" rowspan= "4" | 1995
|
|-
|Favorite Adult Contemporary Artist
|
|-
!scope="row" rowspan= "2"|"I'll Make Love to You"
|Favorite Soul/R&B Single
|
|-
|Favorite Pop/Rock Song
|
|-
!scope="row" rowspan= "5" | 1996
!scope="row" rowspan= "2"|II
|Favorite Soul/R&B Album
|
|-
|Favorite Pop/Rock Album
|
|-
!scope="row" rowspan= "4"|Boyz II Men
|Artist of the Year
|
|-
|Favorite Pop/Rock Band/Duo/Group
|
|-
!scope="row" rowspan= "2"|Favorite Soul/R&B Band/Duo/Group
|
|-
| 1998
|
|-
Billboard Music Awards
|-
!scope="row" rowspan= "2" | 1992
|Boyz II Men
|Top Hot 100 Artist
|
|-
|"End of the Road"
!scope="row" rowspan= "2" | Top Hot 100 Song
|
|-
| 1994
|"I'll Make Love to You"
|
|-
!scope="row" rowspan= "3" | 1995
|II
|Top Billboard 200 Album
|
|-
!scope="row" rowspan= "2" | Boyz II Men
|Top Artist
|
|-
|Top R&B Artist
|
|-
!scope="row" rowspan= "2" | 1996
!scope="row" rowspan= "2" | "One Sweet Day" (with Mariah Carey)
|Top Hot 100 Song
|
|-
|Billboard Music Special Hot 100
|
|-
Grammy Awards
|-
!scope="row" rowspan= "2" | 1992
|Boyz II Men
|Best New Artist
|
|-
|Cooleyhighharmony
!scope="row" rowspan= "4"|Best R&B Performance by a Duo or Group with Vocal
|
|-
| 1993
|"End of the Road"
|
|-
| 1994
|"Let It Snow"
|
|-
!scope="row" rowspan= "3" | 1995
|!scope="row" rowspan= "2"|"I'll Make Love To You"
|
|-
|Record of the Year
|
|-
|II
|Best R&B Album
|
|-
!scope="row" rowspan= "2" | 1996
|!scope="row" rowspan= "2"|"One Sweet Day" (with Mariah Carey)
|Record of the Year
|
|-
|Best Pop Collaboration with Vocals
|
|-
!scope="row" rowspan= "2" | 1998
|"A Song For Mama"
|Best R&B Performance by a Duo or Group with Vocal
|
|-
|Evolution
!scope="row" rowspan= "2"|Best R&B Album
|
|-
!scope="row" rowspan= "2" | 2001
|Nathan Michael Shawn Wanya
|
|-
|"Pass You By"
!scope="row" rowspan= "2"|Best R&B Performance By a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "2" | 2009
|"Ribbon In The Sky"
|
|-
|Motown: A Journey Through Hitsville USA
|Best R&B Album
|
|-
MTV Video Music Awards
!Ref.
|-
| 1993
| "End of the Road"
| rowspan=2|Best R&B Video
|
| rowspan=4|
|-
| rowspan=2|1995
| rowspan=2|"Water Runs Dry"
|
|-
| Best Cinematography
|
|-
| 1996
| "One Sweet Day" (with Mariah Carey)
| Best R&B Video
|
Soul Train Music Awards
|-
|1992
|Boyz II Men
|Best New R&B/Soul Artist
|
|-
!scope="row" rowspan= "3"|1993
!scope="row" rowspan= "2"|"End of the Road"
|Song of the Year
|
|-
|Best R&B Music Video
|
|-
|"Please Don't Go"
|Best R&B Single – Group, Band or Duo
|
|-
!scope="row" rowspan= "2"|1995
|II
|R&B/Soul Album Group, Band or Duo
|
|-
|"I'll Make Love to You"
|R&B/Soul Single Group, Band or Duo
|
|-
|1996
|Boyz II Men
|Entertainer of the Year
|
|-
|1998
|Evolution
!scope="row" rowspan= "2"|Best R&B/Soul Album - Group, Band or Duo
|
|-
|2003
|Full Circle
|
|-
See also
List of best-selling music artists
List of artists who reached number one in the United States
References
External links
African-American musical groups
American contemporary R&B musical groups
American vocal groups
Ballad music groups
American boy bands
Grammy Award winners
Motown artists
Musical groups established in 1988
Musical groups from Philadelphia
Musical quartets
Musical trios
Sony Music Publishing artists
Vocal quartets
Vocal trios
Avex Group artists
| false |
[
"Didn't You Used to Be... is the ninth studio album by American singer David Cassidy. It was released in 1992 and is the only album Cassidy released on Scotti Brothers Records. Originally titled Didn't You Used to Be?, the album features ten tracks which are all written or co-written by Cassidy's wife, Sue Shifrin.\n\nThe track \"I'll Never Stop Loving You\" was recorded by Heart—titled \"Never Stop Loving You\"―and was included on the Japanese special edition bonus 3-inch CD of their 1990 red velvet Brigade box set. It was later released by the EMI Japan label for the Heart compilation Ballads: The Greatest Hits in 1997 and with the reissue in 2001. Cher had also recorded the song for her 1991 album Love Hurts.\n\nTrack listing\nAll tracks composed by David Cassidy and Sue Shifrin; except where indicated\n \"Raindrops\" (Dee Clark, Sue Shifrin, Cassidy) – 4:18 \n \"For All the Lonely\" – 5:05 \n \"Treat Me Like You Used To\" (Cassidy, Sue Shifrin, Mark Spiro) – 3:50 \n \"Somebody to Love\" – 4:01 \n \"I'll Never Stop Loving You\" (Cassidy, Sue Shifrin, John Wetton) – 4:12 \n \"Soul Kiss\" – 3:56 \n \"Tell Me True\" – 4:15 \n \"Like Father, Like Son\" (Cassidy, Steve Diamond, Sue Shifrin) – 4:18 \n \"It's Over\" (Ken Gold, Sue Shifrin) – 3:42\n \"One True Love\" – 4:35\n\nReferences\n\n1992 albums\nDavid Cassidy albums\nScotti Brothers Records albums",
"\"Bobbie Sue\" is a song written by Wood Newton, Dan Tyler and Adele Tyler, and recorded by American country music group The Oak Ridge Boys. It was released in January 1982 as the first single and title track to the group's album of the same name. That April, the song became the Oaks' sixth No. 1 single on the Billboard magazine Hot Country Singles chart.\n\nIn addition to its country success, \"Bobbie Sue\" also fared well on the Billboard Hot 100, peaking at No. 12 on that chart in the spring of 1982.\n\nBackground\nThe song is styled much in the vein of a late 1950s/early 1960s rock-and-roll song, as evidenced by its saxophone solo during the musical bridges.\n\nContent\n\"Bobbie Sue,\" named for the song's main character (and described as \"the sweetest grape that ever grew on the vine\"), is in a sense about an 18-year-old woman's sexual awakening. The role of boyfriend, the song's protagonist, is filled by the singer.\n\nThe first verse establishes that the protagonist had heard about Bobbie Sue from a friend, and he quickly spends as much time with her as possible. After turning 18, Bobbie Sue begins to rebel against her parents — Robert and Ruth — and decides to marry her boyfriend. Bobbie Sue's parents apparently disapprove of the relationship (\"Her Daddy told her that she'd have to wait/Her Mama said don't make a big mistake\"), but the young couple is determined to elope (\"But we'll keep driving till we're out of state/And when they find us it'll be too late\").\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\nWorks cited\nRoland, Tom, \"The Billboard Book of Number One Country Hits.\" (Billboard Books, Watson-Guptill Publications, New York, 1991 ()).\n\n1982 singles\nThe Oak Ridge Boys songs\nSongs written by Wood Newton\nSong recordings produced by Ron Chancey\nMCA Records singles\n1982 songs\nSongs written by Dan Tyler"
] |
[
"Boyz II Men",
"1997-98: Evolution and label conflicts",
"Were there any label conflicts?",
"After the label released the album without their permission, there was a dispute between the company and the group.",
"Did Boys ll men sue the label?",
"I don't know."
] |
C_c2bd6b980a07445e913048d7d8ff195c_1
|
What happened after the label released the album?
| 3 |
What happened to Boyz II Men after the label released the album?
|
Boyz II Men
|
Motown issued The Remix Collection, a compilation of remixes of various Boyz II Men songs from Cooleyhighharmony and II. The group itself had opposed the release of the collection, because they felt the compilation did not represent Boyz II Men's best work. After the label released the album without their permission, there was a dispute between the company and the group. Boyz II Men initiated their own recording company Stonecreek (which released material by artists such as Uncle Sam), and they arranged for Stonecreek's distribution by Epic Records, not Motown. Boyz II Men's third studio album, Evolution, was released during 1997 to mixed reviews and sold three million copies, far below the stratospheric success of II's (12 million copies) and Cooleyhighharmony (9 million). Only one of Evolution's singles, the Jam/Lewis-penned "Four Seasons of Loneliness", reached number 1 on the Hot 100 chart. The second single, the Babyface-helmed "A Song for Mama" (the theme song to the Babyface-produced film Soul Food) was a Top 10 success, but the follow-up "Can't Let Her Go" underperformed. The global tour began in 1997 to promote Evolution was very successful in terms of ticket sales, but behind the scenes, Boyz II Men was wracked by conflicts with their record label and internal conflicts among the members of the group. Making matters worse, health problems began to take their toll on the group as well. While on tour to support the Evolution album, Wanya Morris developed a polyp on his vocal cords, and the group was forced to postpone part of the tour until he recovered. McCary's scoliosis meant that he was unable to participate in most of the group's dance routines. Boyz II Men were nominated for 2 Grammys in 1998: Best R&B Album for Evolution and Best R&B Vocal Performance by a Duo or Group for "A Song for Mama". CANNOTANSWER
|
Boyz II Men initiated their own recording company Stonecreek
|
Boyz II Men (pronounced boys to men), also known as B2M, is an American vocal harmony group from Philadelphia, Pennsylvania, best known for emotional ballads and a cappella harmonies. They are currently a trio composed of baritone Nathan Morris alongside tenors Wanya Morris and Shawn Stockman. During the 1990s, Boyz II Men found fame on Motown Records as a quartet including bass Michael McCary, who left the group in 2003 due to back spasms that were eventually diagnosed as multiple sclerosis.
During the 1990s, Boyz II Men gained international success. This began with the release of top 5 singles "Motownphilly" and "It's So Hard to Say Goodbye to Yesterday" in 1991, followed by the number one single "End of the Road" in 1992, which reached the top of charts worldwide. "End of the Road" set a new record for longevity, staying at number one on the Billboard Hot 100 for thirteen weeks. Boyz II Men proceeded to break this record with the subsequent releases of "I'll Make Love to You" and "One Sweet Day" (with Mariah Carey), which, at fourteen and sixteen weeks, respectively, each set new records for the total number of weeks at number one. "I'll Make Love to You" also topped the charts in Australia (for four weeks) and garnered international success.
Consequently, Boyz II Men is among the music industry's elite with regard to time spent at number one in Billboard history with 50 cumulative weeks, ranking sixth behind Drake, the Beatles, Rihanna, Elvis Presley and Carey. Furthermore, when "On Bended Knee" took the number one spot away from "I'll Make Love to You", Boyz II Men became only the third artists ever (after the Beatles and Presley) to replace themselves at the top of the Billboard Hot 100. These achievements were enough to earn Boyz II Men recognition as Billboard magazine's biggest boy band during the period of 1987 to 2012. Boyz II Men has received four Grammy Awards.
Boyz II Men continue to perform worldwide, as a trio. Their most recent studio album, Under the Streetlight, was released in 2017.
In June 2017, a section of Broad Street (from Christian to Carpenter Streets) in Philadelphia was renamed "Boyz II Men Boulevard". This section of the street is near the High School for the Creative and Performing Arts, where the members once attended.
History
1985–1990: Beginnings
The group, originally known as Unique Attraction, was started by friends Nathan Morris and Marc Nelson at the Philadelphia High School for the Creative and Performing Arts (CAPA) along with fellow schoolmates George Baldi, Jon Shoats, and Marguerite Walker in 1985. In 1987, Wanya Morris, who sang in the school's choir along with the members of Unique Attraction, joined the group and became a permanent member when he was only a freshman. In 1988 Baldi, Shoats, and Walker all left the group due to graduation. They then recruited Shawn Stockman after seeing him perform a solo in the school's choir. One day, Nate, Marc, Wanya and Shawn were practicing harmonies in a school bathroom and in walked Michael McCary who started singing along with the group and eventually became the group's new bass singer. Now with a permanent lineup of members, the group rehearsed in the high school's bathrooms, due to the excellent acoustics, and on the corners of their schools and local hangouts. They found inspiration in New Edition's harmonies and routines, and eventually renamed the group "Boyz II Men", after one of New Edition's songs, "Boys to Men", from their 1988 album Heart Break. After performing at a Valentine's Day party at school in 1989 they got their big break when they snuck into a concert put on by local radio station Power 99 at the Philadelphia Civic Center. Their plan was to find Will Smith backstage and perform for him. But while looking for Smith, they happened to cross paths with New Edition member Michael Bivins, who along with fellow groupmates Ricky Bell and Ronnie DeVoe just announced they were forming a New Edition spin-off trio Bell Biv DeVoe. After they sang New Edition's "Can You Stand the Rain" for him, Bivins and everyone in attendance including other celebrities were impressed. He then gave the group his number and told them to give him a call. Nate eventually called him, and he agreed to manage and helped produce the group.
The delay before recording their own material and reported personality conflicts led founding member Marc Nelson to leave the group, making Boyz II Men into the quartet that found international fame: Michael McCary, Nathan Morris, Wanya Morris, and Shawn Stockman.
1991–1992: Cooleyhighharmony and "End of the Road"
Boyz II Men's first album, Cooleyhighharmony, was released on Motown in 1991 and was produced by Michael Bivins. Cooleyhighharmonys drum-heavy new jack swing sound and multi-layered sampled backdrops were similar to that of Bell Biv DeVoe's own work, but featured classic-soul styled vocals in place of BBD's rapping and brassier singing. This style was dubbed "hip hop doo-wop" by the group and Bivins, who presented Boyz II Men and adolescent R&B group Another Bad Creation to the public as BBD's protégés.
From the beginning, Boyz II Men featured all four members as leads, avoiding the usual R&B group arrangement of one or two lead singers and a team of background singers. The multiple-lead arrangement became a Boyz II Men trademark, and it became typical to hear Wanya Morris' vibrato-heavy tenor, Shawn Stockman's tenor voice, Nathan Morris' baritone, and Michael McCary's bass (often used in spoken-word sections of many Boyz II Men hits) trading bars in each song.
The album's liner notes identified unique nicknames for each member of the group. These nicknames were devised in collaboration with Bivins in an attempt at marketing. Wanya was "Squirt", Shawn was "Slim", Michael was simply "Bass", and Nathan assumed the name "Alex Vanderpool", after a soap opera character who brandished a nerdy style.
Boyz II Men's first single, the Dallas Austin-produced "Motownphilly" featured a rap cameo by Michael Bivins that gives the story of how he met Boyz II Men. The single's release was accompanied with a music video that presented the group in hip hop style. (The video also included cameos from fellow Philadelphia High School for Creative and Performing Arts alumni Black Thought and Questlove of The Roots.) Cooleyhighharmonys second single was an a cappella cover of a classic Motown tune, G.C. Cameron's "It's So Hard to Say Goodbye to Yesterday" from the 1975 film Cooley High, while "Uhh Ahh" served as the third single.
Cooleyhighharmony achieved major success, eventually selling over nine million copies and winning the Grammy Award for Best R&B Performance by a Duo or Group with Vocals at the 1992 Grammy Awards. Boyz II Men were also nominated for Best New Artist, along with British singer-songwriter Seal, fellow R&B group Color Me Badd, as well as dance group C+C Music Factory, but the Grammy was awarded to singer-songwriter Marc Cohn. "Motownphilly" and "It's So Hard to Say Goodbye to Yesterday" were number 1 R&B hits and top five U.S. pop hits.
In 1992, Boyz II Men joined MC Hammer's high-profile 2 Legit 2 Quit tour as an opening act. While traveling the country, their tour manager Khalil Roundtree was murdered in Chicago, and the group's future performances of "It's So Hard to Say Goodbye to Yesterday" were dedicated to him. As a result of this unfortunate experience, the song helped advance their success.
While touring during 1992, Boyz II Men returned briefly to the studio to record the single "End of the Road", co-written and produced by Kenneth "Babyface" Edmonds, for the soundtrack to Eddie Murphy's film Boomerang. This song, released as a single on June 30, 1992, became Boyz II Men's biggest hit. It reached the number one position on the Billboard Hot 100 on August 15, remaining there for a record-setting 13 weeks, until November 14, 1992. The success of "End of the Road" instantly transformed Boyz II Men from up-and-coming R&B stars into mainstream music celebrities.
A revamped Cooleyhighharmony was reissued during 1993, with "End of the Road" added as a special bonus track, but "End of the Road" initially appeared only on the Boomerang soundtrack. Later the track was included on a collection of singles produced by Michael Bivins called "East Coast Family, Vol. 1". Shortly after the release of this compilation, Boyz II Men and Michael Bivins parted ways professionally. Boyz II Men continued to work with Babyface and other high-profile record producers over the next several years.
1994: II and "I'll Make Love to You"
After releasing a Christmas compilation, Christmas Interpretations in 1993, Boyz II Men returned to the studio for their highly anticipated sophomore effort. In 1994, II was released. II sold more than copies in the United States alone, becoming one of the best-selling albums ever released by an R&B group act, and one of the biggest albums of the decade. II later won two awards at the 1995 Grammy Awards including Best R&B Album.
Most of the tracks on II were written and produced by Tim & Bob—Tim Kelley and Bob Robinson (5), Babyface (2) and the successful team of Jimmy Jam and Terry Lewis (2). Several of IIs tracks became major singles, among them Jam & Lewis's "On Bended Knee", and Babyface's "I'll Make Love to You" and "Water Runs Dry".
"I'll Make Love to You" broke "End of the Road's" 13-week record at number 1, by spending 14 weeks at the top of the chart (a feat equaled earlier that year by Whitney Houston's cover of "I Will Always Love You"). "On Bended Knee" replaced "I'll Make Love to You" at number 1, making Boyz II Men only the third act ever to replace itself at number 1 on the Billboard Hot 100 chart, after Elvis Presley and the Beatles.
In 1995, the group appeared as backing vocalists on "HIStory" from Michael Jackson's Grammy-nominated ninth album of the same name.
1997–1998: Evolution and label conflicts
Motown issued The Remix Collection, a compilation of remixes of various Boyz II Men songs from Cooleyhighharmony and II. The group itself had opposed the release of the collection because they felt the compilation did not represent Boyz II Men's best work. After the label released the album without their permission, there was a dispute between the company and the group. Boyz II Men initiated their own recording company Stonecreek (which released material by artists such as Uncle Sam), and they arranged for Stonecreek's distribution by Epic Records, not Motown.
Boyz II Men's third studio album, Evolution, was released during 1997 to mixed reviews and sold three million copies, far below the stratospheric success of IIs ( copies) and Cooleyhighharmony (). Only one of Evolutions singles, the Jam/Lewis-penned "Four Seasons of Loneliness", reached number 1 on the Hot 100 chart. The second single, the Babyface-helmed "A Song for Mama" (the theme song to the Babyface-produced film Soul Food) was a Top 10 success, but the follow-up "Can't Let Her Go" underperformed.
The global tour began in 1997 to promote Evolution was successful in terms of ticket sales, but behind the scenes, Boyz II Men was wracked by conflicts with their record label and internal conflicts among the members of the group. Making matters worse, health problems began to take their toll on the group. While on tour to support the Evolution album, Wanya Morris developed a polyp on his vocal cords, and the group was forced to postpone part of the tour until he recovered. McCary's multiple sclerosis meant that he was unable to participate in most of the group's dance routines.
Boyz II Men were nominated for 2 Grammys in 1998: Best R&B Album for Evolution and Best R&B Vocal Performance by a Duo or Group for "A Song for Mama".
1999–2001: Nathan Michael Shawn Wanya
In 1999, Motown's parent company, PolyGram, was bought by Universal Music Group. Amidst the major corporate restructure, Motown was merged with UMG's Universal Records, where Boyz II Men found themselves reassigned.
Their only studio LP album for Universal, 2000's Nathan Michael Shawn Wanya, was chiefly written and produced by the group itself, in an attempt to update their sound and ward off critics who questioned the group's reliance on Babyface's hit-making songcraft. While the critics were more receptive to Nathan Michael Shawn Wanya than they had been to its predecessor, the LP sold only 500,000 copies in the US, copies worldwide, and although its two singles, "Pass You By" and "Thank You in Advance" received media attention, neither became hits.
Boyz II Men departed from Universal in 2001, ending their relationship with the company that brought them to international stardom in 1991. The label released a very successful greatest hits compilation, Legacy: The Greatest Hits Collection, to close out their contract.
2002–2003: Full Circle and "The Color of Love"
Signing a new deal with Arista Records in 2002, Boyz II Men began recording the Full Circle album, and recruited Babyface for a new single, "The Color of Love". In an attempt to recapture the massive success the group had enjoyed a decade earlier, the album received a significant promotional budget. Arista commissioned a high-budget music video, shot in four different locales by four different directors: supervising director Little X filmed scenes featuring Michael McCary in India, Hype Williams filmed Shawn Stockman in Tokyo, Benny Boom filmed Nathan Morris in Ghana, and Chris Robinson filmed Wanya Morris in Puerto Rico and finally all were filmed in New York. The resulting music video had a debut on BET, but failed to have a great effect, and Full Circle, like Nathan Michael Shawn Wanya before it, sold slightly more than 500,000 copies in the US and copies worldwide.
Full Circle became Boyz II Men's final album as a quartet, and their last effort to receive extensive promotion from a major record company. On , 2003, Michael McCary left Boyz II Men due to chronic back problems resulting from multiple sclerosis (MS) and personal problems. Arista terminated Boyz II Men's contract on , and the remaining three members took a temporary hiatus from the music industry.
2004–2006: Throwback, Vol. 1 and The Remedy
After a year out of the spotlight, Boyz II Men created the independent label MSM Music Group (distributed through Koch Records), and released the Throwback, Vol. 1 LP in 2004. The album is a collection of covers of classic R&B and soul songs such as The Dazz Band's "Let It Whip", Michael Jackson's "Human Nature", and, as the single, Bobby Caldwell's "What You Won't Do for Love". For this record, Nathan took on the bass lines as well as the baritone vocals that he sang when Boyz II Men was a quartet. Throwback, Vol. 1 reached number 59 on the Billboard 200. The group launched an independent tour of North America and Asia in support of the Throwback series. The album sold over 200,000 copies with little to no promotion aside from the group's independent tour.
In 2005 Boyz II Men recorded a CD with Anderson Cameau called "Apocalypse", a project meant to benefit Haiti.
In 2006, Boyz II Men's seventh studio album, The Remedy, was released exclusively in Japan, where they found a thriving fan base. In other regions, The Remedy was made available online through the group's website on , 2007.
2007–2008: Hitsville USA
In mid-2007, the group re-signed with Universal Records and released the LP Motown: A Journey Through Hitsville USA through the Decca Records label. The LP is a cover album featuring songs from the Motown Records catalog, co-produced by Randy Jackson of American Idol fame. The Motown album includes covers of songs by The Temptations ("Just My Imagination (Running Away with Me)"), Marvin Gaye ("Ain't Nothing Like the Real Thing", "Mercy Mercy Me"), Smokey Robinson & the Miracles ("The Tracks of My Tears"), and even Boyz II Men themselves (an a cappella version of "End of the Road").
Commercially, Motown found some success. It peaked at number 6 on the US R&B chart and was certified Gold in the UK. The album was also a critical success. For the 51st Annual Grammy Awards in 2009, Boyz II Men received two nominations for the album Motown: A Journey Through Hitsville USA (Best R&B Album and Best R&B Performance by a Duo or Group with Vocals for "Ribbon in the Sky").
In 2008, Boyz II Men's three members appeared on Celebrity Don't Forget the Lyrics and created a sensation with their performance. They earned $500,000 for their two nominated charities; the appearance also generated interest in their next release.
2009: Love
In 2009, Boyz II Men announced plans for a new cover album, that covers "artists I don't think people would expect us to cover!" according to Shawn Stockman. Entitled Love, the album was released on , 2009. The album contains remakes of love songs from outside the R&B genre.
2011–2012: Love Cruise and Twenty
Boyz II Men headlined a "Love Cruise" in honor of their 20th anniversary and in observance of Valentine's Day. The cruise took place –14, 2011, and traveled from Miami, Florida, to Nassau, Bahamas. Cruise passengers received a Boyz II Men welcome cocktail party, a concert performance by Boyz II Men, an additional fan appreciation concert by Boyz II Men, a photo session with Boyz II Men (in small groups), a formal prom night, a poker tournament, a deck party with Boyz II Men and a guest DJ, a singles mixer, a gift bag, and onboard drawings for other Boyz II Men events. Couples were able to renew their wedding vows in a special ceremony with Boyz II Men.
Twenty, named in recognition of Boyz II Men's twenty years in the music business, is a double CD album with thirteen original songs and eight rerecorded Boyz II Men classics. It was released on October 25, 2011. Twenty is the group's fourth release through MSM Music Group. It was released in Japan 13 days before its official US release date with the help of Avex Group, the biggest Japanese independent record label.
Originally, Boyz II Men announced a reunion with original member Michael McCary for the Twenty album. On September 6, 2009, at a concert in Virginia Beach, Virginia, Stockman announced that their upcoming 20th anniversary album would "include all 4 members", sparking a tremendous applause.
But soon after that announcement, McCary declined and did not join the project.
As a trio, Boyz II Men performed as special guests on VH1's highly rated VH1 Divas Celebrate Soul concert.
Boyz II Men contributed a cover of Japanese rock band L'Arc~en~Ciel's song "Snow Drop" to their 2012 tribute album.
2013–present: The Package Tour, Collide, and Geico Commercials
On January 22, 2013, the group appeared on The View along with New Kids on the Block and 98 Degrees to announce their joint tour that took place in summer 2013. As of February 20, 2013, Boyz II Men announced that beginning March 1, 2013, they will stop touring and begin performing shows at the Mirage Hotel and Casino in Las Vegas.
On January 13, 2014, the trio appeared at the end of an episode of How I Met Your Mother titled "Slapsgiving 3: Slappointment in Slapmarra", performing an a cappella version of the show's song "You Just Got Slapped". Their eleventh album, titled Collide, was released on October 21, 2014.
In 2016, the trio appeared in Grease: Live as the Teen Angels and sang Beauty School Dropout.
Wanya placed 4th for the 22nd season of the ABC realty competition series Dancing With The Stars. They also did music for an animated adaptation of The Snowy Day.
In 2017, the group began starring in television commercials for GEICO Auto Insurance.
On June 24, 2017, a section of Broad Street in Philadelphia, from Christian to Carpenter Streets, was renamed, “Boyz II Men Boulevard” by the city council. Philadelphia High School for the Creative and Performing Arts, where the members of Boyz II Men were once students, is on this section of Broad Street.
In August 2017, it was announced they were releasing a new album titled Under the Streetlight in the Fall. It was released on October 20, 2017.
On January 4, 2018, the group was featured in a new track released by Charlie Puth, titled "If You Leave Me Now", created for Charlie Puth's album Voicenotes.
On September 6, 2018, the group performed at the NFL 2018–2019 season kickoff at Lincoln Financial Field in Philadelphia, PA.
On October 2, 2018, the group performed "Ladies Man" on ABC's Dancing with the Stars. DeMarcus Ware and Lindsay Arnold danced a quickstep to the song.
The group is featured on a re-imagined version of Take That's song Love Ain't Here Anymore from their number one selling album Odyssey. Howard Donald revealed during an interview with Magic Radio that "he fulfilled a dream when they recorded this song".
On December 15, 2018, the group staged a concert at the Smart Araneta Coliseum with Filipino girl group DIVAS—a group composed of Kyla, Yeng Constantino, KZ Tandingan and Angeline Quinto titled Boyz II Men with DIVAS.
On September 18, 2019, it was reported that the group would play themselves on the ABC comedy series Schooled.
On September 30, 2019, Boyz II Men announced their Asia Tour, which is slated to take place after returning from their US tour and residency in Las Vegas. They will be visiting cities such as Kuala Lumpur, Bangkok (December 7), Singapore (December 9) and Manila.
Style and influence
Boyz II Men is among the biggest names in a cappella and R&B. With what was called "crossover appeal", Boyz II Men found themselves at the vanguard of the 1990s movement to take R&B back into the mainstream, where it had been back in the 1970s. Their use of hip-hop beats in combination with R&B was not unique, but it was Boyz II Men's enormous success with mainstream audiences in "putting harmony over the hip-hop tracks" that helped usher in the near-total dominance of the R&B genre on the pop charts in the 2000s and 2010s. On January 5, 2012, Boyz II Men were awarded a star on the Hollywood Walk of Fame. They were featured on the first episode of the 2021 Netflix series This Is Pop, called "The Boyz II Men Effect", about their impact on the boy band scene in the 1990s.
Members
Current
Nathan Morris (1985–present)
Wanya Morris (1987–present)
Shawn Stockman (1988–present)
Former
Michael McCary (1988–2003)
Marc Nelson (1985–1990)
George Baldi (1985–1988)
Jon Shoats (1985–1988)
Marguerite Walker (1985–1988)
Discography
Studio albums
Cooleyhighharmony (1991)
Christmas Interpretations (1993)
II (1994)
Evolution (1997)
Nathan Michael Shawn Wanya (2000)
Full Circle (2002)
Throwback, Vol. 1 (2004)
The Remedy (2006)
Motown: A Journey Through Hitsville USA (2007)
Love (2009)
Twenty (2011)
Collide (2014)
Under the Streetlight (2017)
Filmography
"Going Home" (1995): A Disney Channel concert special filmed during Boyz II Men's "All Around the World Tour" live from the Alamodome in San Antonio, Texas.
The group makes a guest appearance in fourth season episode "Twas the Night Before Christening of The Fresh Prince of Bel-Air in which they sing at Nicky's christening (1993).
"Living In Paradise?" (2000): They appeared as themselves on the hit show Moesha.
Long Shot: They appear as themselves performing at a charity event.
This Is Pop (2021): They are featured on the episode "The Boyz II Men Effect".
Celebrity Wheel of Fortune (2021): Wanya and Shawn play to win money for charities of their choice.
A Very Boyband Christmas (2021): Wanya and Shawn join members of 'Nsync, 98 Degrees and other boy bands to celebrate the holidays.
Live in Front of a Studio Audience (2021): The group performs the theme song of Diff'rent Strokes as the intro to the special’s reenactment of "Willis’s Privacy".
Awards and nominations
American Music Awards
|-
!scope="row" rowspan= "5" | 1992
!scope="row" rowspan= "3" |Boyz II Men
|Favorite Soul/R&B New Artist
|
|-
|Favorite Pop/Rock New Artist
|
|-
|Favorite Soul/R&B Band/Duo/Group
|
|-
|"Motownphilly"
|Favorite Soul/R&B Single
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|-
|Cooleyhighharmony
|Favorite Soul/R&B Album
|
|-
!scope="row" rowspan= "2" | 1993
|"End of the Road"
|Favorite Pop/Rock Song
|
|-
!scope="row" rowspan= "3"|Boyz II Men
!scope="row" rowspan= "2"|Favorite Soul/R&B Band/Duo/Group
|
|-
!scope="row" rowspan= "4" | 1995
|
|-
|Favorite Adult Contemporary Artist
|
|-
!scope="row" rowspan= "2"|"I'll Make Love to You"
|Favorite Soul/R&B Single
|
|-
|Favorite Pop/Rock Song
|
|-
!scope="row" rowspan= "5" | 1996
!scope="row" rowspan= "2"|II
|Favorite Soul/R&B Album
|
|-
|Favorite Pop/Rock Album
|
|-
!scope="row" rowspan= "4"|Boyz II Men
|Artist of the Year
|
|-
|Favorite Pop/Rock Band/Duo/Group
|
|-
!scope="row" rowspan= "2"|Favorite Soul/R&B Band/Duo/Group
|
|-
| 1998
|
|-
Billboard Music Awards
|-
!scope="row" rowspan= "2" | 1992
|Boyz II Men
|Top Hot 100 Artist
|
|-
|"End of the Road"
!scope="row" rowspan= "2" | Top Hot 100 Song
|
|-
| 1994
|"I'll Make Love to You"
|
|-
!scope="row" rowspan= "3" | 1995
|II
|Top Billboard 200 Album
|
|-
!scope="row" rowspan= "2" | Boyz II Men
|Top Artist
|
|-
|Top R&B Artist
|
|-
!scope="row" rowspan= "2" | 1996
!scope="row" rowspan= "2" | "One Sweet Day" (with Mariah Carey)
|Top Hot 100 Song
|
|-
|Billboard Music Special Hot 100
|
|-
Grammy Awards
|-
!scope="row" rowspan= "2" | 1992
|Boyz II Men
|Best New Artist
|
|-
|Cooleyhighharmony
!scope="row" rowspan= "4"|Best R&B Performance by a Duo or Group with Vocal
|
|-
| 1993
|"End of the Road"
|
|-
| 1994
|"Let It Snow"
|
|-
!scope="row" rowspan= "3" | 1995
|!scope="row" rowspan= "2"|"I'll Make Love To You"
|
|-
|Record of the Year
|
|-
|II
|Best R&B Album
|
|-
!scope="row" rowspan= "2" | 1996
|!scope="row" rowspan= "2"|"One Sweet Day" (with Mariah Carey)
|Record of the Year
|
|-
|Best Pop Collaboration with Vocals
|
|-
!scope="row" rowspan= "2" | 1998
|"A Song For Mama"
|Best R&B Performance by a Duo or Group with Vocal
|
|-
|Evolution
!scope="row" rowspan= "2"|Best R&B Album
|
|-
!scope="row" rowspan= "2" | 2001
|Nathan Michael Shawn Wanya
|
|-
|"Pass You By"
!scope="row" rowspan= "2"|Best R&B Performance By a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "2" | 2009
|"Ribbon In The Sky"
|
|-
|Motown: A Journey Through Hitsville USA
|Best R&B Album
|
|-
MTV Video Music Awards
!Ref.
|-
| 1993
| "End of the Road"
| rowspan=2|Best R&B Video
|
| rowspan=4|
|-
| rowspan=2|1995
| rowspan=2|"Water Runs Dry"
|
|-
| Best Cinematography
|
|-
| 1996
| "One Sweet Day" (with Mariah Carey)
| Best R&B Video
|
Soul Train Music Awards
|-
|1992
|Boyz II Men
|Best New R&B/Soul Artist
|
|-
!scope="row" rowspan= "3"|1993
!scope="row" rowspan= "2"|"End of the Road"
|Song of the Year
|
|-
|Best R&B Music Video
|
|-
|"Please Don't Go"
|Best R&B Single – Group, Band or Duo
|
|-
!scope="row" rowspan= "2"|1995
|II
|R&B/Soul Album Group, Band or Duo
|
|-
|"I'll Make Love to You"
|R&B/Soul Single Group, Band or Duo
|
|-
|1996
|Boyz II Men
|Entertainer of the Year
|
|-
|1998
|Evolution
!scope="row" rowspan= "2"|Best R&B/Soul Album - Group, Band or Duo
|
|-
|2003
|Full Circle
|
|-
See also
List of best-selling music artists
List of artists who reached number one in the United States
References
External links
African-American musical groups
American contemporary R&B musical groups
American vocal groups
Ballad music groups
American boy bands
Grammy Award winners
Motown artists
Musical groups established in 1988
Musical groups from Philadelphia
Musical quartets
Musical trios
Sony Music Publishing artists
Vocal quartets
Vocal trios
Avex Group artists
| true |
[
"Daniel Goldstein, better known by his stage name Lane 8, is an American musician, electronic music producer, and DJ. Currently residing in Denver, Colorado, he is signed to English deep house label Anjunadeep. Pete Tong named Lane 8 (b/c of bowling) a \"Future Star\" and Dancing Astronaut included him in their '25 Artists to Watch in 2015'. His debut studio album Rise, was released on July 17, 2015. More recently he has been releasing music via his own label This Never Happened.\n\nBiography\nThe Lane 8 moniker originated back when Goldstein made garage rock with his sibling when they were kids. He later started experimenting with hip-hop beats after being influenced by Pete Rock and DJ Premier. At some point in 2012, \"Lane 8 really found his groove with his sound fitting between pulsing electronica and a woozier kind of glitch-pop\" putting him on the radar of Anjunadeep A&R executive Jody Wisternoff. In 2013, he signed to Anjunadeep, where he released his debut album in the summer of 2015. He has previously described his sound as \"dreamy back rub house.\"\n\nIn 2016, Lane 8 founded the record label This Never Happened. Named after the show concept that began with his Little by Little tour, This Never Happened was created to build an independent presence in the deep house genre. It has since grown into an outlet where he is able to release his best tracks as well as introduce new talent into the scene and give them a wider platform to build upon. Artists signed to This Never Happened have been known to tour with Lane 8 as supporting acts and produce remixes of other TNH artists that are then released on the label. This Never Happened also volumetrically released Root to Branch, an EP-length compilation series featuring a few artists that provides listeners with a shorter inundation of new music. As of 2021, seven volumes of Root to Branch have been released.\n\nCareer\nLane 8 launched the This Never Happened show concept, attached to his Little by Little tour, in 2016. Attendees are prohibited from recording the shows with cell phones or cameras on the basis of encouraging attendees to be present. In 2017, Lane 8 began hosting This Never Happened Summer Gatherings, daytime events in unique outdoor venues.\n\nAfter releasing music on SoundCloud in 2014, Lane 8 rose to wider prominence through the Anjunadeep label, and his 2015 debut album Rise.\n\nRise\n\nOn April 27, 2015, Lane 8 announced his plans to release his debut studio album, Rise on Anjunadeep. The album features vocal appearances from Solomon Grey, Patrick Baker, and Ghostly International's Matthew Dear, among others.\n\nThe lead single, \"Ghost\" featuring Patrick Baker, was released alongside the album announcement and Vice Media's Noisey premiered the song's music video, directed by filmmaker DEMS on May 12. Following suit with the unveiling of the single, a \"Ghost\" remix EP was announced via an exclusive stream from Thump. The EP features \"a diverse collection of artists like Audion (an alias of Matthew Dear), Bwana, Luvian, and even Lane 8 himself\" with styles \"ranging from techno to flowing progressive house, in four very captivating interpretations of the original track.\" On May 14, Billboard premiered the Audion remix which \"trades the original's beatless melodies and lonely lead synth line for a tribal groove that provides an edgy backdrop to Patrick Baker's longing lyrics.\" The second single from the album, \"Hot As You Want\", was premiered by Spin on June 1. They described it as a \"lovely 4/4 anthem\" and \"sublimely aching track.\"\n\nLittle by Little\nOn January 19, 2018, Lane 8 released his second studio album, Little by Little, to digital stores through This Never Happened.\n\nBrightest Lights\nOn January 10, 2020, Lane 8 released his third studio album, Brightest Lights. The album features several appearances from the American synth-pop band POLIÇA, among other collaborators.\n\nReviver\nOn January 21, 2022, Lane 8 released his fourth studio album, Reviver. It features appearances by Channy Leaneagh, Arctic Lake, Solomon Grey, and Emmit Fenn.\n\nDiscography\n\nStudio albums\n Rise (2015)\n Little by Little (2018)\n Brightest Lights (2020)\n Reviver (2022)\n\nCompilation albums\n Rise (Remixed) (Anjunadeep / March 11, 2016)\n Rise (Live & In Session) (Anjunadeep / April 1, 2016)\n\nExtended plays\n2018\n Bluebird / Duchess [This Never Happened]\n\n2016\n Divina / Crush [This Never Happened]\n Midnight [Suara Music]\n\n2014\n Diamonds / Without You [Anjunadeep]\n The One [Anjunadeep]\n\nSingles\n2022\n \"Automatic\" (featuring Solomon Grey)\n\n2021\n \"Nuclear Lethargy\" [This Never Happened]\n \"What Have You Done To Me?\" (featuring Arctic Lake) [This Never Happened]\n \"Reviver\" [This Never Happened]\n \"Riptide\" (featuring Davey Havok) [This Never Happened]\n \"Is This Our Earth?\" [Anjunadeep]\n \"Oh, Miles\" (featuring Julia Church) [This Never Happened]\n\n2020\n \"Buggy\" (with Yotto) [Odd One Out]\n \"Shatter\" (with Otr) [This Never Happened]\n \"Run\" (with Kasablanca) [This Never Happened]\n \"Matcha Mistake\" (with Kidnap) [This Never Happened]\n \"Keep On\" [Anjunadeep]\n \"Out of Sight\" (featuring Hexlogic) [This Never Happened]\n \"Roll Call\" (with Anderholm) [This Never Happened]\n \"Bear Hug\" [This Never Happened]\n \"Road\" (featuring Arctic Lake) [This Never Happened]\n\n2019\n \"Just\" [This Never Happened]\n \"Yard Two Stone\" (featuring Jens Kuross) [This Never Happened]\n \"The Gift\" [This Never Happened]\n \"Don't Let Me Go\" (featuring Arctic Lake) [This Never Happened]\n \"Sunday Song\" [This Never Happened]\n \"Brightest Lights\" (with Poliça) [This Never Happened]\n \"I / Y\" (with Yotto) [This Never Happened]\n \"Feld / Anthracite\" [Anjunadeep]\n \"Visions\" (with Rbbts) [This Never Happened]\n2018\n \"The Disappearance of Colonel Mustard\" [This Never Happened]\n \"Let Me\" (with Avoure) [This Never Happened]\n \"Stir Me Up\" [This Never Happened]\n \"Coming Back to You\" (featuring J.F. July) [This Never Happened]\n2017\n \"Atlas\" [This Never Happened]\n \"No Captain\" (featuring Poliça) [This Never Happened]\n \"March of the Forest Cat\" [This Never Happened]\n \"Little Voices\" [This Never Happened]\n \"Aba\" (with Kidnap) [Anjunadeep]\n\n2016\n \"In My Arms\" [This Never Happened]\n \"With Me\" [This Never Happened]\n \"Fingerprint\" [This Never Happened]\n\n2015\n \"Undercover\" (featuring Matthew Dear) [Anjunadeep]\n \"Loving You\" (featuring Lulu James) [Anjunadeep]\n \"Hot As You Want\" (featuring Solomon Grey) [Anjunadeep]\n \"Ghost\" (featuring Patrick Baker) [Anjunadeep]\n\n2014\n \"I Got What You Need (Every Night)\" (featuring Bipolar Sunshine) [Anjunadeep]\n\n2013\n \"Be Mine\" [Anjunadeep]\n\nRemixes\n Sultan & Shepard — \"NCtrl\" (Lane 8 Remix) (This Never Happened / July 20, 2021)\n Clozee — \"Neon Jungle\" (Lane 8 Remix) (Odyzey Music / October 9, 2020)\n Virtual Self — \"Ghost Voices\" (Lane 8 Remix) (Self-released / February 12, 2019)\n RUFUS — \"Innerbloom\" (Lane 8 Remix) (Sweat It Out / October 21, 2016)\n deadmau5 — \"Strobe\" (Lane 8 Remix) (mau5trap / September 23, 2016)\n Icarus featuring Aurora — \"Home\" (Lane 8 Remix) (FFRR / May 13, 2016)\n Solomon Grey — \"Miradors\" (Lane 8 Remix) (Anjunadeep / November 13, 2015)\n Maribou State — \"Wallflower\" (Lane 8 Remix) (Anjunadeep / September 4, 2015)\n Walking Shapes — \"In The Wake\" (Lane 8 Remix) (No Shame / July 17, 2015)\n Odesza — \"Bloom\" (Lane 8 Remix) (Anjunadeep / February 9, 2015)\n Eric Prydz — \"Liberate\" (Lane 8 Remix) (Virgin / July 27, 2014)\n Above & Beyond featuring Alex Vargas — \"Sticky Fingers\" (Lane 8 Remix) (Anjunabeats / May 19, 2014)\n Josh Record — \"Pictures In The Dark\" (Lane 8 Remix) (Virgin Records / April 4, 2014)\n Daughter — \"Youth\" (Lane 8 Remix) (Free Download)\n Le Youth — \"C O O L\" (Lane 8 Remix) (Ultra / July 2, 2013)\n Spandau Ballet — \"True\" (Lane 8 Edit) (Free Download)\n Chris Isaak — \"Wicked Game\" (Lane 8 Edit) (Free Download)\n Mike Mago — \"The Show\" (Lane 8 Remix) (TBD / TBD)\n Snowden — \"The Beat Comes\" (Lane 8 Remix) (Serpents and Snakes / October 22, 2012)\n\nDJ mixes\nThe Anjunadeep Edition 28\nThe Anjunadeep Edition 64\nThe Anjunadeep Edition 176\nThe Anjunadeep Edition 214\nWinter 2013 Mixtape\nSpring 2014 Mixtape\nSummer 2014 Mixtape\nFall 2014 Mixtape\nWinter 2014 Mixtape\nSpring 2015 Mixtape\nFall 2015 Mixtape\nWinter 2015 Mixtape\nSpring 2016 Mixtape\nSummer 2016 Mixtape\nFall 2016 Mixtape\nWinter 2016 Mixtape\nSpring 2017 Mixtape\nSummer 2017 Mixtape Part 1\nSummer 2017 Mixtape Part 2\nFall 2017 Mixtape\nWinter 2017 Mixtape\nSpring 2018 Mixtape\nBBC Radio 1 Essential Mix\nFall 2018 Mixtape\nWinter 2018 Mixtape\nSpring 2019 Mixtape\nSummer 2019 Mixtape\nFall 2019 Mixtape\nHalloween 2019 Mixtape\nWinter 2019 Mixtape\nSpring 2020 Mixtape\nSummer 2020 Mixtape\nFall 2020 Mixtape\nWinter 2020 Mixtape\nSpring 2021 Mixtape\nSummer 2021 Mixtape\nFall 2021 Mixtape\n\nSee also\n Anjunabeats\n\nReferences\n\nAmerican electronic musicians\nYear of birth missing (living people)\nLiving people\nDeep house musicians",
"Cactus Jack Records is a record label founded by American rapper and singer Travis Scott. The label's current acts include Scott, Sheck Wes, Don Toliver, Luxury Tax, SoFaygo,Chase B, and WondaGurl.\n\nThe label also has their own publishing division, Cactus Jack Publishing.\n\nHistory\nIn March 2017, Travis Scott announced he would be launching his own imprint, under the name of Cactus Jack Records. During an interview, Scott said, \"I'm not doing it to have financial control over my music. I want first and foremost to help other artists, launch new names, to provide opportunities. I want to do for them what happened to me, but better.\" In September 2017, Smokepurpp signed to the label, but left sometime later in 2019. On December 17, hip-hop duo Huncho Jack (consisting of Scott and Quavo of the hip-hop trio Migos), released their debut album Huncho Jack, Jack Huncho under the label. Huncho Jack, Jack Huncho charted at number 3 on the Billboard 200.\n\nIn February 2018, the label signed Sheck Wes in a joint deal with Interscope Records and Kanye West's label GOOD Music. On March 10, Wes announced his debut studio album titled Mudboy, which was released on October 5. On August 3, Scott released his third studio album Astroworld. Later that month, Don Toliver was signed to the label after appearing on the Astroworld song \"Can't Say\". Astroworld charted at number one on the Billboard 200, while Mudboy reached number 17.\n\nOn November 29, 2019, Scott announced the label's first compilation album titled JackBoys, which was released on December 27. The compilation album charted at number 1 in 2020 on the Billboard 200, becoming the first number one of the decade.\n\nOn March 13, 2020, Toliver released his debut studio album titled Heaven or Hell under the label which was supported by three singles: \"No Idea\", \"Can't Feel My Legs\" and \"Had Enough\". The album charted at number 7 on the Billboard 200. On April 24, Scott and Kid Cudi released a song titled \"The Scotts\" under the duo name same as the title. On July 21, Canadian record producer and close collaborator WondaGurl signed a worldwide publishing deal with Cactus Jack's publishing division, Cactus Jack Publishing and Sony/ATV Music Publishing, in conjunction with her own record label and publishing company, Wonderchild Music.\n\nOn June 24, 2021, Scott announced a collaboration between Cactus Jack and the fashion brand Dior which its menswear collection was revealed the following day on a live stream that also showcased snippets of Scott's upcoming fourth studio album, Utopia.\n\nIn late September 2021, Toliver and Chase B announced they would be releasing their own solo projects titled Life of a Don and Escapism respectively in October. Toliver later released Life of a Don on the 8th of that month. The album charted at number two on the Billboard 200.\n\nRoster\n\nCurrent artists\n\nFormer artists\n\nIn-house producers\n\nDiscography\nThe label has officially released five studio albums and one compilation album.\n\nStudio albums\n\nCompilation albums\n\nOther charted songs\n\nReferences\n\nRecord labels established in 2017\nAmerican record labels\nVanity record labels\nEpic Records\n2017 establishments in Texas\nAmerican companies established in 2017"
] |
[
"Boyz II Men",
"1997-98: Evolution and label conflicts",
"Were there any label conflicts?",
"After the label released the album without their permission, there was a dispute between the company and the group.",
"Did Boys ll men sue the label?",
"I don't know.",
"What happened after the label released the album?",
"Boyz II Men initiated their own recording company Stonecreek"
] |
C_c2bd6b980a07445e913048d7d8ff195c_1
|
Did it do well?
| 4 |
Did Boyz II Men recording company, Stonecreek, do well?
|
Boyz II Men
|
Motown issued The Remix Collection, a compilation of remixes of various Boyz II Men songs from Cooleyhighharmony and II. The group itself had opposed the release of the collection, because they felt the compilation did not represent Boyz II Men's best work. After the label released the album without their permission, there was a dispute between the company and the group. Boyz II Men initiated their own recording company Stonecreek (which released material by artists such as Uncle Sam), and they arranged for Stonecreek's distribution by Epic Records, not Motown. Boyz II Men's third studio album, Evolution, was released during 1997 to mixed reviews and sold three million copies, far below the stratospheric success of II's (12 million copies) and Cooleyhighharmony (9 million). Only one of Evolution's singles, the Jam/Lewis-penned "Four Seasons of Loneliness", reached number 1 on the Hot 100 chart. The second single, the Babyface-helmed "A Song for Mama" (the theme song to the Babyface-produced film Soul Food) was a Top 10 success, but the follow-up "Can't Let Her Go" underperformed. The global tour began in 1997 to promote Evolution was very successful in terms of ticket sales, but behind the scenes, Boyz II Men was wracked by conflicts with their record label and internal conflicts among the members of the group. Making matters worse, health problems began to take their toll on the group as well. While on tour to support the Evolution album, Wanya Morris developed a polyp on his vocal cords, and the group was forced to postpone part of the tour until he recovered. McCary's scoliosis meant that he was unable to participate in most of the group's dance routines. Boyz II Men were nominated for 2 Grammys in 1998: Best R&B Album for Evolution and Best R&B Vocal Performance by a Duo or Group for "A Song for Mama". CANNOTANSWER
|
Boyz II Men was wracked by conflicts with their record label and internal conflicts among the members of the group.
|
Boyz II Men (pronounced boys to men), also known as B2M, is an American vocal harmony group from Philadelphia, Pennsylvania, best known for emotional ballads and a cappella harmonies. They are currently a trio composed of baritone Nathan Morris alongside tenors Wanya Morris and Shawn Stockman. During the 1990s, Boyz II Men found fame on Motown Records as a quartet including bass Michael McCary, who left the group in 2003 due to back spasms that were eventually diagnosed as multiple sclerosis.
During the 1990s, Boyz II Men gained international success. This began with the release of top 5 singles "Motownphilly" and "It's So Hard to Say Goodbye to Yesterday" in 1991, followed by the number one single "End of the Road" in 1992, which reached the top of charts worldwide. "End of the Road" set a new record for longevity, staying at number one on the Billboard Hot 100 for thirteen weeks. Boyz II Men proceeded to break this record with the subsequent releases of "I'll Make Love to You" and "One Sweet Day" (with Mariah Carey), which, at fourteen and sixteen weeks, respectively, each set new records for the total number of weeks at number one. "I'll Make Love to You" also topped the charts in Australia (for four weeks) and garnered international success.
Consequently, Boyz II Men is among the music industry's elite with regard to time spent at number one in Billboard history with 50 cumulative weeks, ranking sixth behind Drake, the Beatles, Rihanna, Elvis Presley and Carey. Furthermore, when "On Bended Knee" took the number one spot away from "I'll Make Love to You", Boyz II Men became only the third artists ever (after the Beatles and Presley) to replace themselves at the top of the Billboard Hot 100. These achievements were enough to earn Boyz II Men recognition as Billboard magazine's biggest boy band during the period of 1987 to 2012. Boyz II Men has received four Grammy Awards.
Boyz II Men continue to perform worldwide, as a trio. Their most recent studio album, Under the Streetlight, was released in 2017.
In June 2017, a section of Broad Street (from Christian to Carpenter Streets) in Philadelphia was renamed "Boyz II Men Boulevard". This section of the street is near the High School for the Creative and Performing Arts, where the members once attended.
History
1985–1990: Beginnings
The group, originally known as Unique Attraction, was started by friends Nathan Morris and Marc Nelson at the Philadelphia High School for the Creative and Performing Arts (CAPA) along with fellow schoolmates George Baldi, Jon Shoats, and Marguerite Walker in 1985. In 1987, Wanya Morris, who sang in the school's choir along with the members of Unique Attraction, joined the group and became a permanent member when he was only a freshman. In 1988 Baldi, Shoats, and Walker all left the group due to graduation. They then recruited Shawn Stockman after seeing him perform a solo in the school's choir. One day, Nate, Marc, Wanya and Shawn were practicing harmonies in a school bathroom and in walked Michael McCary who started singing along with the group and eventually became the group's new bass singer. Now with a permanent lineup of members, the group rehearsed in the high school's bathrooms, due to the excellent acoustics, and on the corners of their schools and local hangouts. They found inspiration in New Edition's harmonies and routines, and eventually renamed the group "Boyz II Men", after one of New Edition's songs, "Boys to Men", from their 1988 album Heart Break. After performing at a Valentine's Day party at school in 1989 they got their big break when they snuck into a concert put on by local radio station Power 99 at the Philadelphia Civic Center. Their plan was to find Will Smith backstage and perform for him. But while looking for Smith, they happened to cross paths with New Edition member Michael Bivins, who along with fellow groupmates Ricky Bell and Ronnie DeVoe just announced they were forming a New Edition spin-off trio Bell Biv DeVoe. After they sang New Edition's "Can You Stand the Rain" for him, Bivins and everyone in attendance including other celebrities were impressed. He then gave the group his number and told them to give him a call. Nate eventually called him, and he agreed to manage and helped produce the group.
The delay before recording their own material and reported personality conflicts led founding member Marc Nelson to leave the group, making Boyz II Men into the quartet that found international fame: Michael McCary, Nathan Morris, Wanya Morris, and Shawn Stockman.
1991–1992: Cooleyhighharmony and "End of the Road"
Boyz II Men's first album, Cooleyhighharmony, was released on Motown in 1991 and was produced by Michael Bivins. Cooleyhighharmonys drum-heavy new jack swing sound and multi-layered sampled backdrops were similar to that of Bell Biv DeVoe's own work, but featured classic-soul styled vocals in place of BBD's rapping and brassier singing. This style was dubbed "hip hop doo-wop" by the group and Bivins, who presented Boyz II Men and adolescent R&B group Another Bad Creation to the public as BBD's protégés.
From the beginning, Boyz II Men featured all four members as leads, avoiding the usual R&B group arrangement of one or two lead singers and a team of background singers. The multiple-lead arrangement became a Boyz II Men trademark, and it became typical to hear Wanya Morris' vibrato-heavy tenor, Shawn Stockman's tenor voice, Nathan Morris' baritone, and Michael McCary's bass (often used in spoken-word sections of many Boyz II Men hits) trading bars in each song.
The album's liner notes identified unique nicknames for each member of the group. These nicknames were devised in collaboration with Bivins in an attempt at marketing. Wanya was "Squirt", Shawn was "Slim", Michael was simply "Bass", and Nathan assumed the name "Alex Vanderpool", after a soap opera character who brandished a nerdy style.
Boyz II Men's first single, the Dallas Austin-produced "Motownphilly" featured a rap cameo by Michael Bivins that gives the story of how he met Boyz II Men. The single's release was accompanied with a music video that presented the group in hip hop style. (The video also included cameos from fellow Philadelphia High School for Creative and Performing Arts alumni Black Thought and Questlove of The Roots.) Cooleyhighharmonys second single was an a cappella cover of a classic Motown tune, G.C. Cameron's "It's So Hard to Say Goodbye to Yesterday" from the 1975 film Cooley High, while "Uhh Ahh" served as the third single.
Cooleyhighharmony achieved major success, eventually selling over nine million copies and winning the Grammy Award for Best R&B Performance by a Duo or Group with Vocals at the 1992 Grammy Awards. Boyz II Men were also nominated for Best New Artist, along with British singer-songwriter Seal, fellow R&B group Color Me Badd, as well as dance group C+C Music Factory, but the Grammy was awarded to singer-songwriter Marc Cohn. "Motownphilly" and "It's So Hard to Say Goodbye to Yesterday" were number 1 R&B hits and top five U.S. pop hits.
In 1992, Boyz II Men joined MC Hammer's high-profile 2 Legit 2 Quit tour as an opening act. While traveling the country, their tour manager Khalil Roundtree was murdered in Chicago, and the group's future performances of "It's So Hard to Say Goodbye to Yesterday" were dedicated to him. As a result of this unfortunate experience, the song helped advance their success.
While touring during 1992, Boyz II Men returned briefly to the studio to record the single "End of the Road", co-written and produced by Kenneth "Babyface" Edmonds, for the soundtrack to Eddie Murphy's film Boomerang. This song, released as a single on June 30, 1992, became Boyz II Men's biggest hit. It reached the number one position on the Billboard Hot 100 on August 15, remaining there for a record-setting 13 weeks, until November 14, 1992. The success of "End of the Road" instantly transformed Boyz II Men from up-and-coming R&B stars into mainstream music celebrities.
A revamped Cooleyhighharmony was reissued during 1993, with "End of the Road" added as a special bonus track, but "End of the Road" initially appeared only on the Boomerang soundtrack. Later the track was included on a collection of singles produced by Michael Bivins called "East Coast Family, Vol. 1". Shortly after the release of this compilation, Boyz II Men and Michael Bivins parted ways professionally. Boyz II Men continued to work with Babyface and other high-profile record producers over the next several years.
1994: II and "I'll Make Love to You"
After releasing a Christmas compilation, Christmas Interpretations in 1993, Boyz II Men returned to the studio for their highly anticipated sophomore effort. In 1994, II was released. II sold more than copies in the United States alone, becoming one of the best-selling albums ever released by an R&B group act, and one of the biggest albums of the decade. II later won two awards at the 1995 Grammy Awards including Best R&B Album.
Most of the tracks on II were written and produced by Tim & Bob—Tim Kelley and Bob Robinson (5), Babyface (2) and the successful team of Jimmy Jam and Terry Lewis (2). Several of IIs tracks became major singles, among them Jam & Lewis's "On Bended Knee", and Babyface's "I'll Make Love to You" and "Water Runs Dry".
"I'll Make Love to You" broke "End of the Road's" 13-week record at number 1, by spending 14 weeks at the top of the chart (a feat equaled earlier that year by Whitney Houston's cover of "I Will Always Love You"). "On Bended Knee" replaced "I'll Make Love to You" at number 1, making Boyz II Men only the third act ever to replace itself at number 1 on the Billboard Hot 100 chart, after Elvis Presley and the Beatles.
In 1995, the group appeared as backing vocalists on "HIStory" from Michael Jackson's Grammy-nominated ninth album of the same name.
1997–1998: Evolution and label conflicts
Motown issued The Remix Collection, a compilation of remixes of various Boyz II Men songs from Cooleyhighharmony and II. The group itself had opposed the release of the collection because they felt the compilation did not represent Boyz II Men's best work. After the label released the album without their permission, there was a dispute between the company and the group. Boyz II Men initiated their own recording company Stonecreek (which released material by artists such as Uncle Sam), and they arranged for Stonecreek's distribution by Epic Records, not Motown.
Boyz II Men's third studio album, Evolution, was released during 1997 to mixed reviews and sold three million copies, far below the stratospheric success of IIs ( copies) and Cooleyhighharmony (). Only one of Evolutions singles, the Jam/Lewis-penned "Four Seasons of Loneliness", reached number 1 on the Hot 100 chart. The second single, the Babyface-helmed "A Song for Mama" (the theme song to the Babyface-produced film Soul Food) was a Top 10 success, but the follow-up "Can't Let Her Go" underperformed.
The global tour began in 1997 to promote Evolution was successful in terms of ticket sales, but behind the scenes, Boyz II Men was wracked by conflicts with their record label and internal conflicts among the members of the group. Making matters worse, health problems began to take their toll on the group. While on tour to support the Evolution album, Wanya Morris developed a polyp on his vocal cords, and the group was forced to postpone part of the tour until he recovered. McCary's multiple sclerosis meant that he was unable to participate in most of the group's dance routines.
Boyz II Men were nominated for 2 Grammys in 1998: Best R&B Album for Evolution and Best R&B Vocal Performance by a Duo or Group for "A Song for Mama".
1999–2001: Nathan Michael Shawn Wanya
In 1999, Motown's parent company, PolyGram, was bought by Universal Music Group. Amidst the major corporate restructure, Motown was merged with UMG's Universal Records, where Boyz II Men found themselves reassigned.
Their only studio LP album for Universal, 2000's Nathan Michael Shawn Wanya, was chiefly written and produced by the group itself, in an attempt to update their sound and ward off critics who questioned the group's reliance on Babyface's hit-making songcraft. While the critics were more receptive to Nathan Michael Shawn Wanya than they had been to its predecessor, the LP sold only 500,000 copies in the US, copies worldwide, and although its two singles, "Pass You By" and "Thank You in Advance" received media attention, neither became hits.
Boyz II Men departed from Universal in 2001, ending their relationship with the company that brought them to international stardom in 1991. The label released a very successful greatest hits compilation, Legacy: The Greatest Hits Collection, to close out their contract.
2002–2003: Full Circle and "The Color of Love"
Signing a new deal with Arista Records in 2002, Boyz II Men began recording the Full Circle album, and recruited Babyface for a new single, "The Color of Love". In an attempt to recapture the massive success the group had enjoyed a decade earlier, the album received a significant promotional budget. Arista commissioned a high-budget music video, shot in four different locales by four different directors: supervising director Little X filmed scenes featuring Michael McCary in India, Hype Williams filmed Shawn Stockman in Tokyo, Benny Boom filmed Nathan Morris in Ghana, and Chris Robinson filmed Wanya Morris in Puerto Rico and finally all were filmed in New York. The resulting music video had a debut on BET, but failed to have a great effect, and Full Circle, like Nathan Michael Shawn Wanya before it, sold slightly more than 500,000 copies in the US and copies worldwide.
Full Circle became Boyz II Men's final album as a quartet, and their last effort to receive extensive promotion from a major record company. On , 2003, Michael McCary left Boyz II Men due to chronic back problems resulting from multiple sclerosis (MS) and personal problems. Arista terminated Boyz II Men's contract on , and the remaining three members took a temporary hiatus from the music industry.
2004–2006: Throwback, Vol. 1 and The Remedy
After a year out of the spotlight, Boyz II Men created the independent label MSM Music Group (distributed through Koch Records), and released the Throwback, Vol. 1 LP in 2004. The album is a collection of covers of classic R&B and soul songs such as The Dazz Band's "Let It Whip", Michael Jackson's "Human Nature", and, as the single, Bobby Caldwell's "What You Won't Do for Love". For this record, Nathan took on the bass lines as well as the baritone vocals that he sang when Boyz II Men was a quartet. Throwback, Vol. 1 reached number 59 on the Billboard 200. The group launched an independent tour of North America and Asia in support of the Throwback series. The album sold over 200,000 copies with little to no promotion aside from the group's independent tour.
In 2005 Boyz II Men recorded a CD with Anderson Cameau called "Apocalypse", a project meant to benefit Haiti.
In 2006, Boyz II Men's seventh studio album, The Remedy, was released exclusively in Japan, where they found a thriving fan base. In other regions, The Remedy was made available online through the group's website on , 2007.
2007–2008: Hitsville USA
In mid-2007, the group re-signed with Universal Records and released the LP Motown: A Journey Through Hitsville USA through the Decca Records label. The LP is a cover album featuring songs from the Motown Records catalog, co-produced by Randy Jackson of American Idol fame. The Motown album includes covers of songs by The Temptations ("Just My Imagination (Running Away with Me)"), Marvin Gaye ("Ain't Nothing Like the Real Thing", "Mercy Mercy Me"), Smokey Robinson & the Miracles ("The Tracks of My Tears"), and even Boyz II Men themselves (an a cappella version of "End of the Road").
Commercially, Motown found some success. It peaked at number 6 on the US R&B chart and was certified Gold in the UK. The album was also a critical success. For the 51st Annual Grammy Awards in 2009, Boyz II Men received two nominations for the album Motown: A Journey Through Hitsville USA (Best R&B Album and Best R&B Performance by a Duo or Group with Vocals for "Ribbon in the Sky").
In 2008, Boyz II Men's three members appeared on Celebrity Don't Forget the Lyrics and created a sensation with their performance. They earned $500,000 for their two nominated charities; the appearance also generated interest in their next release.
2009: Love
In 2009, Boyz II Men announced plans for a new cover album, that covers "artists I don't think people would expect us to cover!" according to Shawn Stockman. Entitled Love, the album was released on , 2009. The album contains remakes of love songs from outside the R&B genre.
2011–2012: Love Cruise and Twenty
Boyz II Men headlined a "Love Cruise" in honor of their 20th anniversary and in observance of Valentine's Day. The cruise took place –14, 2011, and traveled from Miami, Florida, to Nassau, Bahamas. Cruise passengers received a Boyz II Men welcome cocktail party, a concert performance by Boyz II Men, an additional fan appreciation concert by Boyz II Men, a photo session with Boyz II Men (in small groups), a formal prom night, a poker tournament, a deck party with Boyz II Men and a guest DJ, a singles mixer, a gift bag, and onboard drawings for other Boyz II Men events. Couples were able to renew their wedding vows in a special ceremony with Boyz II Men.
Twenty, named in recognition of Boyz II Men's twenty years in the music business, is a double CD album with thirteen original songs and eight rerecorded Boyz II Men classics. It was released on October 25, 2011. Twenty is the group's fourth release through MSM Music Group. It was released in Japan 13 days before its official US release date with the help of Avex Group, the biggest Japanese independent record label.
Originally, Boyz II Men announced a reunion with original member Michael McCary for the Twenty album. On September 6, 2009, at a concert in Virginia Beach, Virginia, Stockman announced that their upcoming 20th anniversary album would "include all 4 members", sparking a tremendous applause.
But soon after that announcement, McCary declined and did not join the project.
As a trio, Boyz II Men performed as special guests on VH1's highly rated VH1 Divas Celebrate Soul concert.
Boyz II Men contributed a cover of Japanese rock band L'Arc~en~Ciel's song "Snow Drop" to their 2012 tribute album.
2013–present: The Package Tour, Collide, and Geico Commercials
On January 22, 2013, the group appeared on The View along with New Kids on the Block and 98 Degrees to announce their joint tour that took place in summer 2013. As of February 20, 2013, Boyz II Men announced that beginning March 1, 2013, they will stop touring and begin performing shows at the Mirage Hotel and Casino in Las Vegas.
On January 13, 2014, the trio appeared at the end of an episode of How I Met Your Mother titled "Slapsgiving 3: Slappointment in Slapmarra", performing an a cappella version of the show's song "You Just Got Slapped". Their eleventh album, titled Collide, was released on October 21, 2014.
In 2016, the trio appeared in Grease: Live as the Teen Angels and sang Beauty School Dropout.
Wanya placed 4th for the 22nd season of the ABC realty competition series Dancing With The Stars. They also did music for an animated adaptation of The Snowy Day.
In 2017, the group began starring in television commercials for GEICO Auto Insurance.
On June 24, 2017, a section of Broad Street in Philadelphia, from Christian to Carpenter Streets, was renamed, “Boyz II Men Boulevard” by the city council. Philadelphia High School for the Creative and Performing Arts, where the members of Boyz II Men were once students, is on this section of Broad Street.
In August 2017, it was announced they were releasing a new album titled Under the Streetlight in the Fall. It was released on October 20, 2017.
On January 4, 2018, the group was featured in a new track released by Charlie Puth, titled "If You Leave Me Now", created for Charlie Puth's album Voicenotes.
On September 6, 2018, the group performed at the NFL 2018–2019 season kickoff at Lincoln Financial Field in Philadelphia, PA.
On October 2, 2018, the group performed "Ladies Man" on ABC's Dancing with the Stars. DeMarcus Ware and Lindsay Arnold danced a quickstep to the song.
The group is featured on a re-imagined version of Take That's song Love Ain't Here Anymore from their number one selling album Odyssey. Howard Donald revealed during an interview with Magic Radio that "he fulfilled a dream when they recorded this song".
On December 15, 2018, the group staged a concert at the Smart Araneta Coliseum with Filipino girl group DIVAS—a group composed of Kyla, Yeng Constantino, KZ Tandingan and Angeline Quinto titled Boyz II Men with DIVAS.
On September 18, 2019, it was reported that the group would play themselves on the ABC comedy series Schooled.
On September 30, 2019, Boyz II Men announced their Asia Tour, which is slated to take place after returning from their US tour and residency in Las Vegas. They will be visiting cities such as Kuala Lumpur, Bangkok (December 7), Singapore (December 9) and Manila.
Style and influence
Boyz II Men is among the biggest names in a cappella and R&B. With what was called "crossover appeal", Boyz II Men found themselves at the vanguard of the 1990s movement to take R&B back into the mainstream, where it had been back in the 1970s. Their use of hip-hop beats in combination with R&B was not unique, but it was Boyz II Men's enormous success with mainstream audiences in "putting harmony over the hip-hop tracks" that helped usher in the near-total dominance of the R&B genre on the pop charts in the 2000s and 2010s. On January 5, 2012, Boyz II Men were awarded a star on the Hollywood Walk of Fame. They were featured on the first episode of the 2021 Netflix series This Is Pop, called "The Boyz II Men Effect", about their impact on the boy band scene in the 1990s.
Members
Current
Nathan Morris (1985–present)
Wanya Morris (1987–present)
Shawn Stockman (1988–present)
Former
Michael McCary (1988–2003)
Marc Nelson (1985–1990)
George Baldi (1985–1988)
Jon Shoats (1985–1988)
Marguerite Walker (1985–1988)
Discography
Studio albums
Cooleyhighharmony (1991)
Christmas Interpretations (1993)
II (1994)
Evolution (1997)
Nathan Michael Shawn Wanya (2000)
Full Circle (2002)
Throwback, Vol. 1 (2004)
The Remedy (2006)
Motown: A Journey Through Hitsville USA (2007)
Love (2009)
Twenty (2011)
Collide (2014)
Under the Streetlight (2017)
Filmography
"Going Home" (1995): A Disney Channel concert special filmed during Boyz II Men's "All Around the World Tour" live from the Alamodome in San Antonio, Texas.
The group makes a guest appearance in fourth season episode "Twas the Night Before Christening of The Fresh Prince of Bel-Air in which they sing at Nicky's christening (1993).
"Living In Paradise?" (2000): They appeared as themselves on the hit show Moesha.
Long Shot: They appear as themselves performing at a charity event.
This Is Pop (2021): They are featured on the episode "The Boyz II Men Effect".
Celebrity Wheel of Fortune (2021): Wanya and Shawn play to win money for charities of their choice.
A Very Boyband Christmas (2021): Wanya and Shawn join members of 'Nsync, 98 Degrees and other boy bands to celebrate the holidays.
Live in Front of a Studio Audience (2021): The group performs the theme song of Diff'rent Strokes as the intro to the special’s reenactment of "Willis’s Privacy".
Awards and nominations
American Music Awards
|-
!scope="row" rowspan= "5" | 1992
!scope="row" rowspan= "3" |Boyz II Men
|Favorite Soul/R&B New Artist
|
|-
|Favorite Pop/Rock New Artist
|
|-
|Favorite Soul/R&B Band/Duo/Group
|
|-
|"Motownphilly"
|Favorite Soul/R&B Single
|
|-
|Cooleyhighharmony
|Favorite Soul/R&B Album
|
|-
!scope="row" rowspan= "2" | 1993
|"End of the Road"
|Favorite Pop/Rock Song
|
|-
!scope="row" rowspan= "3"|Boyz II Men
!scope="row" rowspan= "2"|Favorite Soul/R&B Band/Duo/Group
|
|-
!scope="row" rowspan= "4" | 1995
|
|-
|Favorite Adult Contemporary Artist
|
|-
!scope="row" rowspan= "2"|"I'll Make Love to You"
|Favorite Soul/R&B Single
|
|-
|Favorite Pop/Rock Song
|
|-
!scope="row" rowspan= "5" | 1996
!scope="row" rowspan= "2"|II
|Favorite Soul/R&B Album
|
|-
|Favorite Pop/Rock Album
|
|-
!scope="row" rowspan= "4"|Boyz II Men
|Artist of the Year
|
|-
|Favorite Pop/Rock Band/Duo/Group
|
|-
!scope="row" rowspan= "2"|Favorite Soul/R&B Band/Duo/Group
|
|-
| 1998
|
|-
Billboard Music Awards
|-
!scope="row" rowspan= "2" | 1992
|Boyz II Men
|Top Hot 100 Artist
|
|-
|"End of the Road"
!scope="row" rowspan= "2" | Top Hot 100 Song
|
|-
| 1994
|"I'll Make Love to You"
|
|-
!scope="row" rowspan= "3" | 1995
|II
|Top Billboard 200 Album
|
|-
!scope="row" rowspan= "2" | Boyz II Men
|Top Artist
|
|-
|Top R&B Artist
|
|-
!scope="row" rowspan= "2" | 1996
!scope="row" rowspan= "2" | "One Sweet Day" (with Mariah Carey)
|Top Hot 100 Song
|
|-
|Billboard Music Special Hot 100
|
|-
Grammy Awards
|-
!scope="row" rowspan= "2" | 1992
|Boyz II Men
|Best New Artist
|
|-
|Cooleyhighharmony
!scope="row" rowspan= "4"|Best R&B Performance by a Duo or Group with Vocal
|
|-
| 1993
|"End of the Road"
|
|-
| 1994
|"Let It Snow"
|
|-
!scope="row" rowspan= "3" | 1995
|!scope="row" rowspan= "2"|"I'll Make Love To You"
|
|-
|Record of the Year
|
|-
|II
|Best R&B Album
|
|-
!scope="row" rowspan= "2" | 1996
|!scope="row" rowspan= "2"|"One Sweet Day" (with Mariah Carey)
|Record of the Year
|
|-
|Best Pop Collaboration with Vocals
|
|-
!scope="row" rowspan= "2" | 1998
|"A Song For Mama"
|Best R&B Performance by a Duo or Group with Vocal
|
|-
|Evolution
!scope="row" rowspan= "2"|Best R&B Album
|
|-
!scope="row" rowspan= "2" | 2001
|Nathan Michael Shawn Wanya
|
|-
|"Pass You By"
!scope="row" rowspan= "2"|Best R&B Performance By a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "2" | 2009
|"Ribbon In The Sky"
|
|-
|Motown: A Journey Through Hitsville USA
|Best R&B Album
|
|-
MTV Video Music Awards
!Ref.
|-
| 1993
| "End of the Road"
| rowspan=2|Best R&B Video
|
| rowspan=4|
|-
| rowspan=2|1995
| rowspan=2|"Water Runs Dry"
|
|-
| Best Cinematography
|
|-
| 1996
| "One Sweet Day" (with Mariah Carey)
| Best R&B Video
|
Soul Train Music Awards
|-
|1992
|Boyz II Men
|Best New R&B/Soul Artist
|
|-
!scope="row" rowspan= "3"|1993
!scope="row" rowspan= "2"|"End of the Road"
|Song of the Year
|
|-
|Best R&B Music Video
|
|-
|"Please Don't Go"
|Best R&B Single – Group, Band or Duo
|
|-
!scope="row" rowspan= "2"|1995
|II
|R&B/Soul Album Group, Band or Duo
|
|-
|"I'll Make Love to You"
|R&B/Soul Single Group, Band or Duo
|
|-
|1996
|Boyz II Men
|Entertainer of the Year
|
|-
|1998
|Evolution
!scope="row" rowspan= "2"|Best R&B/Soul Album - Group, Band or Duo
|
|-
|2003
|Full Circle
|
|-
See also
List of best-selling music artists
List of artists who reached number one in the United States
References
External links
African-American musical groups
American contemporary R&B musical groups
American vocal groups
Ballad music groups
American boy bands
Grammy Award winners
Motown artists
Musical groups established in 1988
Musical groups from Philadelphia
Musical quartets
Musical trios
Sony Music Publishing artists
Vocal quartets
Vocal trios
Avex Group artists
| true |
[
"This One's for You is the sixth album by R&B crooner Teddy Pendergrass. It was released just after a bad car accident Pendergrass was involved in, which left him paralyzed from the waist down due to a spinal cord injury. The album did not do as well as his previous albums did on the Billboard 200, peaking at only #59, but it did do well on the R&B album chart, reaching #6. Only one single was released, \"I Can't Win for Losing\", which peaked at only #32 on the R&B charts.\n\nTrack listing\n \"I Can't Win for Losing\" 4:16 (Victor Carstarphen, Gene McFadden, John Whitehead)\n \"This One's for You\" 6:18 (Barry Manilow, Marty Panzer)\n \"Loving You Was Good\" 3:35 (LeRoy Bell, Casey James)\n \"This Gift of Life\" 4:27 (Kenny Gamble, Leon Huff)\n \"Now Tell Me That You Love Me\" 5:15 (Gamble, Huff)\n \"It's Up to You (What You Do With Your Life)\" 5:37 (Gamble, Huff)\n \"Don't Leave Me out Along the Road\" 3:34 (Richard Roebuck)\n \"Only to You\" 3:53 (Nickolas Ashford, Valerie Simpson)\n\nReferences\n\n1982 albums\nTeddy Pendergrass albums\nAlbums produced by Kenneth Gamble\nAlbums produced by Leon Huff\nAlbums produced by Thom Bell\nAlbums produced by Ashford & Simpson\nAlbums arranged by Bobby Martin\nAlbums recorded at Sigma Sound Studios\nPhiladelphia International Records albums",
"Follow Me is the second album of Dutch singer Do.\n\nIt did well in the Netherlands, debuting at #8 in the Mega Top 100 (album chart).\n\nAlbum information\nAfter her successful debut album Do she began working on her second album with her best friend and musical partner Glenn Corneille. They made a basis for the next album but Glenn Corneille died in a car disaster. However, Do needed to go on, so she started again where she left off.\n\nThe album contains 12 songs. Do co-wrote 3 songs; Love Me, Tune Into Me and When Everything is Gone. It features several different music genres, such as Pop, Jazz, Gospel and Country.\n\nTrack listing\n\nChart positions\n\nReferences\n.\n\n2006 albums\nDo (singer) albums\nSony BMG albums"
] |
[
"Boyz II Men",
"1997-98: Evolution and label conflicts",
"Were there any label conflicts?",
"After the label released the album without their permission, there was a dispute between the company and the group.",
"Did Boys ll men sue the label?",
"I don't know.",
"What happened after the label released the album?",
"Boyz II Men initiated their own recording company Stonecreek",
"Did it do well?",
"Boyz II Men was wracked by conflicts with their record label and internal conflicts among the members of the group."
] |
C_c2bd6b980a07445e913048d7d8ff195c_1
|
Did they then find another label?
| 5 |
Aside from Stonecreek, did Boyz II Men find another label?
|
Boyz II Men
|
Motown issued The Remix Collection, a compilation of remixes of various Boyz II Men songs from Cooleyhighharmony and II. The group itself had opposed the release of the collection, because they felt the compilation did not represent Boyz II Men's best work. After the label released the album without their permission, there was a dispute between the company and the group. Boyz II Men initiated their own recording company Stonecreek (which released material by artists such as Uncle Sam), and they arranged for Stonecreek's distribution by Epic Records, not Motown. Boyz II Men's third studio album, Evolution, was released during 1997 to mixed reviews and sold three million copies, far below the stratospheric success of II's (12 million copies) and Cooleyhighharmony (9 million). Only one of Evolution's singles, the Jam/Lewis-penned "Four Seasons of Loneliness", reached number 1 on the Hot 100 chart. The second single, the Babyface-helmed "A Song for Mama" (the theme song to the Babyface-produced film Soul Food) was a Top 10 success, but the follow-up "Can't Let Her Go" underperformed. The global tour began in 1997 to promote Evolution was very successful in terms of ticket sales, but behind the scenes, Boyz II Men was wracked by conflicts with their record label and internal conflicts among the members of the group. Making matters worse, health problems began to take their toll on the group as well. While on tour to support the Evolution album, Wanya Morris developed a polyp on his vocal cords, and the group was forced to postpone part of the tour until he recovered. McCary's scoliosis meant that he was unable to participate in most of the group's dance routines. Boyz II Men were nominated for 2 Grammys in 1998: Best R&B Album for Evolution and Best R&B Vocal Performance by a Duo or Group for "A Song for Mama". CANNOTANSWER
|
CANNOTANSWER
|
Boyz II Men (pronounced boys to men), also known as B2M, is an American vocal harmony group from Philadelphia, Pennsylvania, best known for emotional ballads and a cappella harmonies. They are currently a trio composed of baritone Nathan Morris alongside tenors Wanya Morris and Shawn Stockman. During the 1990s, Boyz II Men found fame on Motown Records as a quartet including bass Michael McCary, who left the group in 2003 due to back spasms that were eventually diagnosed as multiple sclerosis.
During the 1990s, Boyz II Men gained international success. This began with the release of top 5 singles "Motownphilly" and "It's So Hard to Say Goodbye to Yesterday" in 1991, followed by the number one single "End of the Road" in 1992, which reached the top of charts worldwide. "End of the Road" set a new record for longevity, staying at number one on the Billboard Hot 100 for thirteen weeks. Boyz II Men proceeded to break this record with the subsequent releases of "I'll Make Love to You" and "One Sweet Day" (with Mariah Carey), which, at fourteen and sixteen weeks, respectively, each set new records for the total number of weeks at number one. "I'll Make Love to You" also topped the charts in Australia (for four weeks) and garnered international success.
Consequently, Boyz II Men is among the music industry's elite with regard to time spent at number one in Billboard history with 50 cumulative weeks, ranking sixth behind Drake, the Beatles, Rihanna, Elvis Presley and Carey. Furthermore, when "On Bended Knee" took the number one spot away from "I'll Make Love to You", Boyz II Men became only the third artists ever (after the Beatles and Presley) to replace themselves at the top of the Billboard Hot 100. These achievements were enough to earn Boyz II Men recognition as Billboard magazine's biggest boy band during the period of 1987 to 2012. Boyz II Men has received four Grammy Awards.
Boyz II Men continue to perform worldwide, as a trio. Their most recent studio album, Under the Streetlight, was released in 2017.
In June 2017, a section of Broad Street (from Christian to Carpenter Streets) in Philadelphia was renamed "Boyz II Men Boulevard". This section of the street is near the High School for the Creative and Performing Arts, where the members once attended.
History
1985–1990: Beginnings
The group, originally known as Unique Attraction, was started by friends Nathan Morris and Marc Nelson at the Philadelphia High School for the Creative and Performing Arts (CAPA) along with fellow schoolmates George Baldi, Jon Shoats, and Marguerite Walker in 1985. In 1987, Wanya Morris, who sang in the school's choir along with the members of Unique Attraction, joined the group and became a permanent member when he was only a freshman. In 1988 Baldi, Shoats, and Walker all left the group due to graduation. They then recruited Shawn Stockman after seeing him perform a solo in the school's choir. One day, Nate, Marc, Wanya and Shawn were practicing harmonies in a school bathroom and in walked Michael McCary who started singing along with the group and eventually became the group's new bass singer. Now with a permanent lineup of members, the group rehearsed in the high school's bathrooms, due to the excellent acoustics, and on the corners of their schools and local hangouts. They found inspiration in New Edition's harmonies and routines, and eventually renamed the group "Boyz II Men", after one of New Edition's songs, "Boys to Men", from their 1988 album Heart Break. After performing at a Valentine's Day party at school in 1989 they got their big break when they snuck into a concert put on by local radio station Power 99 at the Philadelphia Civic Center. Their plan was to find Will Smith backstage and perform for him. But while looking for Smith, they happened to cross paths with New Edition member Michael Bivins, who along with fellow groupmates Ricky Bell and Ronnie DeVoe just announced they were forming a New Edition spin-off trio Bell Biv DeVoe. After they sang New Edition's "Can You Stand the Rain" for him, Bivins and everyone in attendance including other celebrities were impressed. He then gave the group his number and told them to give him a call. Nate eventually called him, and he agreed to manage and helped produce the group.
The delay before recording their own material and reported personality conflicts led founding member Marc Nelson to leave the group, making Boyz II Men into the quartet that found international fame: Michael McCary, Nathan Morris, Wanya Morris, and Shawn Stockman.
1991–1992: Cooleyhighharmony and "End of the Road"
Boyz II Men's first album, Cooleyhighharmony, was released on Motown in 1991 and was produced by Michael Bivins. Cooleyhighharmonys drum-heavy new jack swing sound and multi-layered sampled backdrops were similar to that of Bell Biv DeVoe's own work, but featured classic-soul styled vocals in place of BBD's rapping and brassier singing. This style was dubbed "hip hop doo-wop" by the group and Bivins, who presented Boyz II Men and adolescent R&B group Another Bad Creation to the public as BBD's protégés.
From the beginning, Boyz II Men featured all four members as leads, avoiding the usual R&B group arrangement of one or two lead singers and a team of background singers. The multiple-lead arrangement became a Boyz II Men trademark, and it became typical to hear Wanya Morris' vibrato-heavy tenor, Shawn Stockman's tenor voice, Nathan Morris' baritone, and Michael McCary's bass (often used in spoken-word sections of many Boyz II Men hits) trading bars in each song.
The album's liner notes identified unique nicknames for each member of the group. These nicknames were devised in collaboration with Bivins in an attempt at marketing. Wanya was "Squirt", Shawn was "Slim", Michael was simply "Bass", and Nathan assumed the name "Alex Vanderpool", after a soap opera character who brandished a nerdy style.
Boyz II Men's first single, the Dallas Austin-produced "Motownphilly" featured a rap cameo by Michael Bivins that gives the story of how he met Boyz II Men. The single's release was accompanied with a music video that presented the group in hip hop style. (The video also included cameos from fellow Philadelphia High School for Creative and Performing Arts alumni Black Thought and Questlove of The Roots.) Cooleyhighharmonys second single was an a cappella cover of a classic Motown tune, G.C. Cameron's "It's So Hard to Say Goodbye to Yesterday" from the 1975 film Cooley High, while "Uhh Ahh" served as the third single.
Cooleyhighharmony achieved major success, eventually selling over nine million copies and winning the Grammy Award for Best R&B Performance by a Duo or Group with Vocals at the 1992 Grammy Awards. Boyz II Men were also nominated for Best New Artist, along with British singer-songwriter Seal, fellow R&B group Color Me Badd, as well as dance group C+C Music Factory, but the Grammy was awarded to singer-songwriter Marc Cohn. "Motownphilly" and "It's So Hard to Say Goodbye to Yesterday" were number 1 R&B hits and top five U.S. pop hits.
In 1992, Boyz II Men joined MC Hammer's high-profile 2 Legit 2 Quit tour as an opening act. While traveling the country, their tour manager Khalil Roundtree was murdered in Chicago, and the group's future performances of "It's So Hard to Say Goodbye to Yesterday" were dedicated to him. As a result of this unfortunate experience, the song helped advance their success.
While touring during 1992, Boyz II Men returned briefly to the studio to record the single "End of the Road", co-written and produced by Kenneth "Babyface" Edmonds, for the soundtrack to Eddie Murphy's film Boomerang. This song, released as a single on June 30, 1992, became Boyz II Men's biggest hit. It reached the number one position on the Billboard Hot 100 on August 15, remaining there for a record-setting 13 weeks, until November 14, 1992. The success of "End of the Road" instantly transformed Boyz II Men from up-and-coming R&B stars into mainstream music celebrities.
A revamped Cooleyhighharmony was reissued during 1993, with "End of the Road" added as a special bonus track, but "End of the Road" initially appeared only on the Boomerang soundtrack. Later the track was included on a collection of singles produced by Michael Bivins called "East Coast Family, Vol. 1". Shortly after the release of this compilation, Boyz II Men and Michael Bivins parted ways professionally. Boyz II Men continued to work with Babyface and other high-profile record producers over the next several years.
1994: II and "I'll Make Love to You"
After releasing a Christmas compilation, Christmas Interpretations in 1993, Boyz II Men returned to the studio for their highly anticipated sophomore effort. In 1994, II was released. II sold more than copies in the United States alone, becoming one of the best-selling albums ever released by an R&B group act, and one of the biggest albums of the decade. II later won two awards at the 1995 Grammy Awards including Best R&B Album.
Most of the tracks on II were written and produced by Tim & Bob—Tim Kelley and Bob Robinson (5), Babyface (2) and the successful team of Jimmy Jam and Terry Lewis (2). Several of IIs tracks became major singles, among them Jam & Lewis's "On Bended Knee", and Babyface's "I'll Make Love to You" and "Water Runs Dry".
"I'll Make Love to You" broke "End of the Road's" 13-week record at number 1, by spending 14 weeks at the top of the chart (a feat equaled earlier that year by Whitney Houston's cover of "I Will Always Love You"). "On Bended Knee" replaced "I'll Make Love to You" at number 1, making Boyz II Men only the third act ever to replace itself at number 1 on the Billboard Hot 100 chart, after Elvis Presley and the Beatles.
In 1995, the group appeared as backing vocalists on "HIStory" from Michael Jackson's Grammy-nominated ninth album of the same name.
1997–1998: Evolution and label conflicts
Motown issued The Remix Collection, a compilation of remixes of various Boyz II Men songs from Cooleyhighharmony and II. The group itself had opposed the release of the collection because they felt the compilation did not represent Boyz II Men's best work. After the label released the album without their permission, there was a dispute between the company and the group. Boyz II Men initiated their own recording company Stonecreek (which released material by artists such as Uncle Sam), and they arranged for Stonecreek's distribution by Epic Records, not Motown.
Boyz II Men's third studio album, Evolution, was released during 1997 to mixed reviews and sold three million copies, far below the stratospheric success of IIs ( copies) and Cooleyhighharmony (). Only one of Evolutions singles, the Jam/Lewis-penned "Four Seasons of Loneliness", reached number 1 on the Hot 100 chart. The second single, the Babyface-helmed "A Song for Mama" (the theme song to the Babyface-produced film Soul Food) was a Top 10 success, but the follow-up "Can't Let Her Go" underperformed.
The global tour began in 1997 to promote Evolution was successful in terms of ticket sales, but behind the scenes, Boyz II Men was wracked by conflicts with their record label and internal conflicts among the members of the group. Making matters worse, health problems began to take their toll on the group. While on tour to support the Evolution album, Wanya Morris developed a polyp on his vocal cords, and the group was forced to postpone part of the tour until he recovered. McCary's multiple sclerosis meant that he was unable to participate in most of the group's dance routines.
Boyz II Men were nominated for 2 Grammys in 1998: Best R&B Album for Evolution and Best R&B Vocal Performance by a Duo or Group for "A Song for Mama".
1999–2001: Nathan Michael Shawn Wanya
In 1999, Motown's parent company, PolyGram, was bought by Universal Music Group. Amidst the major corporate restructure, Motown was merged with UMG's Universal Records, where Boyz II Men found themselves reassigned.
Their only studio LP album for Universal, 2000's Nathan Michael Shawn Wanya, was chiefly written and produced by the group itself, in an attempt to update their sound and ward off critics who questioned the group's reliance on Babyface's hit-making songcraft. While the critics were more receptive to Nathan Michael Shawn Wanya than they had been to its predecessor, the LP sold only 500,000 copies in the US, copies worldwide, and although its two singles, "Pass You By" and "Thank You in Advance" received media attention, neither became hits.
Boyz II Men departed from Universal in 2001, ending their relationship with the company that brought them to international stardom in 1991. The label released a very successful greatest hits compilation, Legacy: The Greatest Hits Collection, to close out their contract.
2002–2003: Full Circle and "The Color of Love"
Signing a new deal with Arista Records in 2002, Boyz II Men began recording the Full Circle album, and recruited Babyface for a new single, "The Color of Love". In an attempt to recapture the massive success the group had enjoyed a decade earlier, the album received a significant promotional budget. Arista commissioned a high-budget music video, shot in four different locales by four different directors: supervising director Little X filmed scenes featuring Michael McCary in India, Hype Williams filmed Shawn Stockman in Tokyo, Benny Boom filmed Nathan Morris in Ghana, and Chris Robinson filmed Wanya Morris in Puerto Rico and finally all were filmed in New York. The resulting music video had a debut on BET, but failed to have a great effect, and Full Circle, like Nathan Michael Shawn Wanya before it, sold slightly more than 500,000 copies in the US and copies worldwide.
Full Circle became Boyz II Men's final album as a quartet, and their last effort to receive extensive promotion from a major record company. On , 2003, Michael McCary left Boyz II Men due to chronic back problems resulting from multiple sclerosis (MS) and personal problems. Arista terminated Boyz II Men's contract on , and the remaining three members took a temporary hiatus from the music industry.
2004–2006: Throwback, Vol. 1 and The Remedy
After a year out of the spotlight, Boyz II Men created the independent label MSM Music Group (distributed through Koch Records), and released the Throwback, Vol. 1 LP in 2004. The album is a collection of covers of classic R&B and soul songs such as The Dazz Band's "Let It Whip", Michael Jackson's "Human Nature", and, as the single, Bobby Caldwell's "What You Won't Do for Love". For this record, Nathan took on the bass lines as well as the baritone vocals that he sang when Boyz II Men was a quartet. Throwback, Vol. 1 reached number 59 on the Billboard 200. The group launched an independent tour of North America and Asia in support of the Throwback series. The album sold over 200,000 copies with little to no promotion aside from the group's independent tour.
In 2005 Boyz II Men recorded a CD with Anderson Cameau called "Apocalypse", a project meant to benefit Haiti.
In 2006, Boyz II Men's seventh studio album, The Remedy, was released exclusively in Japan, where they found a thriving fan base. In other regions, The Remedy was made available online through the group's website on , 2007.
2007–2008: Hitsville USA
In mid-2007, the group re-signed with Universal Records and released the LP Motown: A Journey Through Hitsville USA through the Decca Records label. The LP is a cover album featuring songs from the Motown Records catalog, co-produced by Randy Jackson of American Idol fame. The Motown album includes covers of songs by The Temptations ("Just My Imagination (Running Away with Me)"), Marvin Gaye ("Ain't Nothing Like the Real Thing", "Mercy Mercy Me"), Smokey Robinson & the Miracles ("The Tracks of My Tears"), and even Boyz II Men themselves (an a cappella version of "End of the Road").
Commercially, Motown found some success. It peaked at number 6 on the US R&B chart and was certified Gold in the UK. The album was also a critical success. For the 51st Annual Grammy Awards in 2009, Boyz II Men received two nominations for the album Motown: A Journey Through Hitsville USA (Best R&B Album and Best R&B Performance by a Duo or Group with Vocals for "Ribbon in the Sky").
In 2008, Boyz II Men's three members appeared on Celebrity Don't Forget the Lyrics and created a sensation with their performance. They earned $500,000 for their two nominated charities; the appearance also generated interest in their next release.
2009: Love
In 2009, Boyz II Men announced plans for a new cover album, that covers "artists I don't think people would expect us to cover!" according to Shawn Stockman. Entitled Love, the album was released on , 2009. The album contains remakes of love songs from outside the R&B genre.
2011–2012: Love Cruise and Twenty
Boyz II Men headlined a "Love Cruise" in honor of their 20th anniversary and in observance of Valentine's Day. The cruise took place –14, 2011, and traveled from Miami, Florida, to Nassau, Bahamas. Cruise passengers received a Boyz II Men welcome cocktail party, a concert performance by Boyz II Men, an additional fan appreciation concert by Boyz II Men, a photo session with Boyz II Men (in small groups), a formal prom night, a poker tournament, a deck party with Boyz II Men and a guest DJ, a singles mixer, a gift bag, and onboard drawings for other Boyz II Men events. Couples were able to renew their wedding vows in a special ceremony with Boyz II Men.
Twenty, named in recognition of Boyz II Men's twenty years in the music business, is a double CD album with thirteen original songs and eight rerecorded Boyz II Men classics. It was released on October 25, 2011. Twenty is the group's fourth release through MSM Music Group. It was released in Japan 13 days before its official US release date with the help of Avex Group, the biggest Japanese independent record label.
Originally, Boyz II Men announced a reunion with original member Michael McCary for the Twenty album. On September 6, 2009, at a concert in Virginia Beach, Virginia, Stockman announced that their upcoming 20th anniversary album would "include all 4 members", sparking a tremendous applause.
But soon after that announcement, McCary declined and did not join the project.
As a trio, Boyz II Men performed as special guests on VH1's highly rated VH1 Divas Celebrate Soul concert.
Boyz II Men contributed a cover of Japanese rock band L'Arc~en~Ciel's song "Snow Drop" to their 2012 tribute album.
2013–present: The Package Tour, Collide, and Geico Commercials
On January 22, 2013, the group appeared on The View along with New Kids on the Block and 98 Degrees to announce their joint tour that took place in summer 2013. As of February 20, 2013, Boyz II Men announced that beginning March 1, 2013, they will stop touring and begin performing shows at the Mirage Hotel and Casino in Las Vegas.
On January 13, 2014, the trio appeared at the end of an episode of How I Met Your Mother titled "Slapsgiving 3: Slappointment in Slapmarra", performing an a cappella version of the show's song "You Just Got Slapped". Their eleventh album, titled Collide, was released on October 21, 2014.
In 2016, the trio appeared in Grease: Live as the Teen Angels and sang Beauty School Dropout.
Wanya placed 4th for the 22nd season of the ABC realty competition series Dancing With The Stars. They also did music for an animated adaptation of The Snowy Day.
In 2017, the group began starring in television commercials for GEICO Auto Insurance.
On June 24, 2017, a section of Broad Street in Philadelphia, from Christian to Carpenter Streets, was renamed, “Boyz II Men Boulevard” by the city council. Philadelphia High School for the Creative and Performing Arts, where the members of Boyz II Men were once students, is on this section of Broad Street.
In August 2017, it was announced they were releasing a new album titled Under the Streetlight in the Fall. It was released on October 20, 2017.
On January 4, 2018, the group was featured in a new track released by Charlie Puth, titled "If You Leave Me Now", created for Charlie Puth's album Voicenotes.
On September 6, 2018, the group performed at the NFL 2018–2019 season kickoff at Lincoln Financial Field in Philadelphia, PA.
On October 2, 2018, the group performed "Ladies Man" on ABC's Dancing with the Stars. DeMarcus Ware and Lindsay Arnold danced a quickstep to the song.
The group is featured on a re-imagined version of Take That's song Love Ain't Here Anymore from their number one selling album Odyssey. Howard Donald revealed during an interview with Magic Radio that "he fulfilled a dream when they recorded this song".
On December 15, 2018, the group staged a concert at the Smart Araneta Coliseum with Filipino girl group DIVAS—a group composed of Kyla, Yeng Constantino, KZ Tandingan and Angeline Quinto titled Boyz II Men with DIVAS.
On September 18, 2019, it was reported that the group would play themselves on the ABC comedy series Schooled.
On September 30, 2019, Boyz II Men announced their Asia Tour, which is slated to take place after returning from their US tour and residency in Las Vegas. They will be visiting cities such as Kuala Lumpur, Bangkok (December 7), Singapore (December 9) and Manila.
Style and influence
Boyz II Men is among the biggest names in a cappella and R&B. With what was called "crossover appeal", Boyz II Men found themselves at the vanguard of the 1990s movement to take R&B back into the mainstream, where it had been back in the 1970s. Their use of hip-hop beats in combination with R&B was not unique, but it was Boyz II Men's enormous success with mainstream audiences in "putting harmony over the hip-hop tracks" that helped usher in the near-total dominance of the R&B genre on the pop charts in the 2000s and 2010s. On January 5, 2012, Boyz II Men were awarded a star on the Hollywood Walk of Fame. They were featured on the first episode of the 2021 Netflix series This Is Pop, called "The Boyz II Men Effect", about their impact on the boy band scene in the 1990s.
Members
Current
Nathan Morris (1985–present)
Wanya Morris (1987–present)
Shawn Stockman (1988–present)
Former
Michael McCary (1988–2003)
Marc Nelson (1985–1990)
George Baldi (1985–1988)
Jon Shoats (1985–1988)
Marguerite Walker (1985–1988)
Discography
Studio albums
Cooleyhighharmony (1991)
Christmas Interpretations (1993)
II (1994)
Evolution (1997)
Nathan Michael Shawn Wanya (2000)
Full Circle (2002)
Throwback, Vol. 1 (2004)
The Remedy (2006)
Motown: A Journey Through Hitsville USA (2007)
Love (2009)
Twenty (2011)
Collide (2014)
Under the Streetlight (2017)
Filmography
"Going Home" (1995): A Disney Channel concert special filmed during Boyz II Men's "All Around the World Tour" live from the Alamodome in San Antonio, Texas.
The group makes a guest appearance in fourth season episode "Twas the Night Before Christening of The Fresh Prince of Bel-Air in which they sing at Nicky's christening (1993).
"Living In Paradise?" (2000): They appeared as themselves on the hit show Moesha.
Long Shot: They appear as themselves performing at a charity event.
This Is Pop (2021): They are featured on the episode "The Boyz II Men Effect".
Celebrity Wheel of Fortune (2021): Wanya and Shawn play to win money for charities of their choice.
A Very Boyband Christmas (2021): Wanya and Shawn join members of 'Nsync, 98 Degrees and other boy bands to celebrate the holidays.
Live in Front of a Studio Audience (2021): The group performs the theme song of Diff'rent Strokes as the intro to the special’s reenactment of "Willis’s Privacy".
Awards and nominations
American Music Awards
|-
!scope="row" rowspan= "5" | 1992
!scope="row" rowspan= "3" |Boyz II Men
|Favorite Soul/R&B New Artist
|
|-
|Favorite Pop/Rock New Artist
|
|-
|Favorite Soul/R&B Band/Duo/Group
|
|-
|"Motownphilly"
|Favorite Soul/R&B Single
|
|-
|Cooleyhighharmony
|Favorite Soul/R&B Album
|
|-
!scope="row" rowspan= "2" | 1993
|"End of the Road"
|Favorite Pop/Rock Song
|
|-
!scope="row" rowspan= "3"|Boyz II Men
!scope="row" rowspan= "2"|Favorite Soul/R&B Band/Duo/Group
|
|-
!scope="row" rowspan= "4" | 1995
|
|-
|Favorite Adult Contemporary Artist
|
|-
!scope="row" rowspan= "2"|"I'll Make Love to You"
|Favorite Soul/R&B Single
|
|-
|Favorite Pop/Rock Song
|
|-
!scope="row" rowspan= "5" | 1996
!scope="row" rowspan= "2"|II
|Favorite Soul/R&B Album
|
|-
|Favorite Pop/Rock Album
|
|-
!scope="row" rowspan= "4"|Boyz II Men
|Artist of the Year
|
|-
|Favorite Pop/Rock Band/Duo/Group
|
|-
!scope="row" rowspan= "2"|Favorite Soul/R&B Band/Duo/Group
|
|-
| 1998
|
|-
Billboard Music Awards
|-
!scope="row" rowspan= "2" | 1992
|Boyz II Men
|Top Hot 100 Artist
|
|-
|"End of the Road"
!scope="row" rowspan= "2" | Top Hot 100 Song
|
|-
| 1994
|"I'll Make Love to You"
|
|-
!scope="row" rowspan= "3" | 1995
|II
|Top Billboard 200 Album
|
|-
!scope="row" rowspan= "2" | Boyz II Men
|Top Artist
|
|-
|Top R&B Artist
|
|-
!scope="row" rowspan= "2" | 1996
!scope="row" rowspan= "2" | "One Sweet Day" (with Mariah Carey)
|Top Hot 100 Song
|
|-
|Billboard Music Special Hot 100
|
|-
Grammy Awards
|-
!scope="row" rowspan= "2" | 1992
|Boyz II Men
|Best New Artist
|
|-
|Cooleyhighharmony
!scope="row" rowspan= "4"|Best R&B Performance by a Duo or Group with Vocal
|
|-
| 1993
|"End of the Road"
|
|-
| 1994
|"Let It Snow"
|
|-
!scope="row" rowspan= "3" | 1995
|!scope="row" rowspan= "2"|"I'll Make Love To You"
|
|-
|Record of the Year
|
|-
|II
|Best R&B Album
|
|-
!scope="row" rowspan= "2" | 1996
|!scope="row" rowspan= "2"|"One Sweet Day" (with Mariah Carey)
|Record of the Year
|
|-
|Best Pop Collaboration with Vocals
|
|-
!scope="row" rowspan= "2" | 1998
|"A Song For Mama"
|Best R&B Performance by a Duo or Group with Vocal
|
|-
|Evolution
!scope="row" rowspan= "2"|Best R&B Album
|
|-
!scope="row" rowspan= "2" | 2001
|Nathan Michael Shawn Wanya
|
|-
|"Pass You By"
!scope="row" rowspan= "2"|Best R&B Performance By a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "2" | 2009
|"Ribbon In The Sky"
|
|-
|Motown: A Journey Through Hitsville USA
|Best R&B Album
|
|-
MTV Video Music Awards
!Ref.
|-
| 1993
| "End of the Road"
| rowspan=2|Best R&B Video
|
| rowspan=4|
|-
| rowspan=2|1995
| rowspan=2|"Water Runs Dry"
|
|-
| Best Cinematography
|
|-
| 1996
| "One Sweet Day" (with Mariah Carey)
| Best R&B Video
|
Soul Train Music Awards
|-
|1992
|Boyz II Men
|Best New R&B/Soul Artist
|
|-
!scope="row" rowspan= "3"|1993
!scope="row" rowspan= "2"|"End of the Road"
|Song of the Year
|
|-
|Best R&B Music Video
|
|-
|"Please Don't Go"
|Best R&B Single – Group, Band or Duo
|
|-
!scope="row" rowspan= "2"|1995
|II
|R&B/Soul Album Group, Band or Duo
|
|-
|"I'll Make Love to You"
|R&B/Soul Single Group, Band or Duo
|
|-
|1996
|Boyz II Men
|Entertainer of the Year
|
|-
|1998
|Evolution
!scope="row" rowspan= "2"|Best R&B/Soul Album - Group, Band or Duo
|
|-
|2003
|Full Circle
|
|-
See also
List of best-selling music artists
List of artists who reached number one in the United States
References
External links
African-American musical groups
American contemporary R&B musical groups
American vocal groups
Ballad music groups
American boy bands
Grammy Award winners
Motown artists
Musical groups established in 1988
Musical groups from Philadelphia
Musical quartets
Musical trios
Sony Music Publishing artists
Vocal quartets
Vocal trios
Avex Group artists
| false |
[
"The Hoshen–Kopelman algorithm is a simple and efficient algorithm for labeling clusters on a grid, where the grid is a regular network of cells, with the cells being either occupied or unoccupied. This algorithm is based on a well-known union-finding algorithm. The algorithm was originally described by Joseph Hoshen and Raoul Kopelman in their 1976 paper \"Percolation and Cluster Distribution. I. Cluster Multiple Labeling Technique and Critical Concentration Algorithm\".\n\nPercolation theory \nPercolation theory is the study of the behavior and statistics of clusters on lattices. Suppose we have a large square lattice where each cell can be occupied with the probability p and can be empty with the probability 1 – p. Each group of neighboring occupied cells forms a cluster. Neighbors are defined as cells having a common side but not those sharing only a corner i.e. we consider the 4-connected neighborhood that is top, bottom, left and right. Each occupied cell is independent of the status of its neighborhood. The number of clusters, the size of each cluster and their distribution are important topics in percolation theory.\n\nHoshen–Kopelman algorithm for cluster finding \nIn this algorithm, we scan through a grid looking for occupied cells and labeling them with cluster labels. The scanning process is called as Raster Scan. The algorithm begins with scanning the grid cell by cell and check if the cell is occupied or not. If the cell is occupied, then it must be labeled with a cluster label. This cluster label is decided based on the neighbors of that cell. (For this we are going to use Union-Find Algorithm which is explained in the next section.) If the cell doesn’t have any occupied neighbors then, a new label is assigned to the cell.\n\nUnion-find algorithm \nThis algorithm is a simple method for computing equivalence classes. Calling the function union(x,y) specifies that, items x and y are members of the same equivalence class. Because equivalence relations are transitive; all the items equivalent to x are equivalent to all the items equivalent to y. Thus for any item x, there is a set of items which are all equivalent to x . This set is the equivalence class of which x is a member. A second function find(x) returns a representative member of the equivalence class to which x belongs.\n\nPseudocode \nDuring the raster scan of the grid, whenever an occupied cell is encountered, neighboring cells are scanned to check whether any of them have already been scanned. If we find already scanned neighbors, the union operation is performed, to specify that these neighboring cells are in fact members of the same equivalence class. Then thefind operation is performed to find a representative member of that equivalence class with which the current cell will be labeled.\n\nOn the other hand, if the current cell has no neighbors, it is assigned a new, previously unused, label. The entire grid is processed in this way.\n\nFollowing pseudocode is referred from Tobin Fricke's implementation of the same algorithm.\n Raster Scan and Labeling on the Grid\n largest_label = 0;\n label = zeros[n_columns, n_rows]\n labels = [0:n_columns*n_rows] /* Array containing integers from 0 to the size of the image. */\n for x in 0 to n_columns {\n for y in 0 to n_rows {\n if occupied[x, y] then\n left = label[x-1, y];\n above = label[x, y-1];\n if (left == 0) and (above == 0) then /* Neither a label above nor to the left. */\n largest_label = largest_label + 1; /* Make a new, as-yet-unused cluster label. */\n label[x, y] = largest_label;\n else if (left != 0) and (above == 0) then /* One neighbor, to the left. */\n label[x, y] = find(left);\n else if (left == 0) and (above != 0) then /* One neighbor, above. */\n label[x, y] = find(above);\n else /* Neighbors BOTH to the left and above. */\n union(left,above); /* Link the left and above clusters. */\n label[x, y] = find(left);\n }\n }\n \n Union\n void union(int x, int y) {\n labels[find(x)] = find(y);\n }\n \n Find\n int find(int x) {\n int y = x;\n while (labels[y] != y)\n y = labels[y];\n while (labels[x] != x) {\n int z = labels[x];\n labels[x] = y;\n x = z;\n }\n return y;\n }\n\nExample \nConsider the following example. The dark cells in the grid in figure (a) represent that they are occupied and the white ones are empty. So by running H–K algorithm on this input we would get the output as shown in figure (b) with all the clusters labeled.\n\nThe algorithm processes the input grid, cell by cell, as follows: Let's say that grid is a two-dimensional array.\n Starting from cell grid[0][0] i.e. the first cell. The cell is occupied and it doesn't have cells to the left or above so we will label this cell with a new label say 1. \n grid[0][1] and grid[0][2] both are unoccupied so they are not labeled. \n grid[0][3] is occupied so check cell to the left which is unoccupied so we increment the current label value and assign the label to the cell as 2. \n grid[0][4], grid[0][5] and grid[1][0] are unoccupied so they are not labeled. \n grid[1][1] is occupied so check cell to the left and above, both the cells are unoccupied so assign a new label 3. \n grid[1][2] is occupied so check cell to the left and above, only the cell to the left is occupied so assign the label of a cell on the left to this cell 3. \n grid[1][3] is occupied so check cell to the left and above, both the cells are occupied, so merge the two clusters and assign the cluster label of the cell above to the cell on the left and to this cell i.e. 2. (Merging using union algorithm will label all the cells with label 3 to 2) \n grid[1][4] is occupied so check cell to the left and above, only the cell to the left is occupied so assign the label of a cell on the left to this cell 2. \n grid[1][5] , grid[2][0] and grid[2][1] are unoccupied so they are not labeled. \n grid[2][2] is occupied so check cell to the left and above, only cell above is occupied so assign the label of the cell above to this cell 2. \n grid[2][3] , grid[2][4] and grid[2][5] are unoccupied so they are not labeled. \n grid[3][0] is occupied so check cell above which is unoccupied so we increment the current label value and assign the label to the cell as 4. \n grid[3][1] is occupied so check cell to the left and above, only the cell to the left is occupied so assign the label of the cell on the left to this cell 4. \n grid[3][2] is unoccupied so it is not labeled. \n grid[3][3] is occupied so check cell to the left and above, both the cells are unoccupied so assign a new label 5. \n grid[3][4] is occupied so check cell to the left and above, only the cell to the left is occupied so assign the label of the cell on the left to this cell 5. \n grid[3][5] , grid[4][0] and grid[4][1] are unoccupied so they are not labeled. \n grid[4][2] is occupied so check cell to the left and above, both the cells are unoccupied so assign a new label 6. \n grid[4][3] is occupied so check cell to the left and above, both, cell to the left and above are occupied so merge the two clusters and assign the cluster label of the cell above to the cell on the left and to this cell i.e. 5. (Merging using union algorithm will label all the cells with label 6 to 5). \n grid[4][4] is unoccupied so it is not labeled. \n grid[4][5] is occupied so check cell to the left and above, both the cells are unoccupied so assign a new label 7. \n grid[5][0] , grid[5][1] , grid[5][2] and grid[5][3] are unoccupied so they are not labeled. \n grid[5][4] is occupied so check cell to the left and above, both the cells are unoccupied so assign a new label 8. \n grid[5][5] is occupied so check cell to the left and above, both, cell to the left and above are occupied so merge the two clusters and assign the cluster label of the cell above to the cell on the left and to this cell i.e. 7. (Merging using union algorithm will label all the cells with label 8 to 7).\n\nApplications \n Determination of Nodal Domain Area and Nodal Line Lengths \n Nodal Connectivity Information\n Modeling of electrical conduction\n\nSee also \n K-means clustering algorithm\n Fuzzy clustering algorithm\n Gaussian (Expectation Maximization) clustering algorithm\n Clustering Methods \n C-means Clustering Algorithm \n Connected-component labeling\n\nReferences \n\nCluster analysis algorithms",
"The Cosmic Jokers were a German krautrock supergroup, though they were never a proper ensemble, per se; their music was created from sessions put together by label head Rolf-Ulrich Kaiser and Gille Lettman in early 1973, without the performers' knowledge. They were a primary example of space rock.\n\nHistory\nThe Cosmic Jokers performed at several acid parties to be held at the sound studio owned by Dieter Dierks, where musicians were offered drugs in exchange for recording tracks. Participants included Manuel Göttsching and Klaus Schulze of Ash Ra Tempel, and Harald Grosskopf of Wallenstein, and Dierks. Prior to this, all of the musicians had been involved with Kaiser's Cosmic Couriers label.\n\nKaiser took the tapes from these sessions, edited and mixed them with Dierks, and released them on his label, Kosmische Musik, complete with the musicians' pictures on the LP sleeve. Göttsching did not find out about the record release until he heard it playing in a record store in Berlin and asked the counter help what was playing. Kaiser released five records under the name Cosmic Jokers in 1974, one of which was actually a label sampler and a second, Gilles Zeitschiff, consisted of Kaiser's then-girlfriend Gille Lettmann speaking over sounds taken from prior label releases. Schulze was not happy with the recordings, he was so angry after the release of Gilles Zeitschiff that he sued Kaiser.\n\nDiscography\nThe Cosmic Jokers (1974)\nGalactic Supermarket (1974)\nPlaneten Sit-In (1974)\nSci Fi Party (1974; actually a Kosmische Musik label sampler)\nGilles Zeitschiff (1974; compilation/remix album)\n\nReferences\n[ Cosmic Jokers] at Allmusic.com\n\nFootnotes\n\nExternal links\nCosmic Jokers - Biography at Intuitive music\n[ Cosmic Jokers] at Allmusic.com\nThe Cosmic Jokers discography at Discogs\n\nKrautrock musical groups\nSpace rock musical groups\nMusical groups established in 1973"
] |
[
"Mike Awesome",
"Team Canada and W*ING Alliance (1993-1995)"
] |
C_e663e88e71f04541acab03b62631f02c_1
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how did he join Team Canada?
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How did Mike Awesome join Team Canada?
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Mike Awesome
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In 1993, Gladiator formed the first villainous faction in FMW called Team Canada with Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal after The Sheik and Sabu turned fan favorites and formed an alliance with Atsushi Onita. At 4th Anniversary Show, the team of Gladiator, Ricky Fuji and Big Titan defeated Katsuji Ueda, The Great Punk and Tarzan Goto in a Captain's Fall Losing Captain Leaves Town No Rope Barbed Wire Tornado Street Fight Deathmatch, which Team Canada won. The group strengthened its dominance after Mr. Pogo returned to FMW in the summer of 1993 and took over as the leader of the group. Gladiator and Titan were defeated by Sambo Asako and Mr. Gannosuke at Summer Spectacular. The team of Gladiator, Titan and Fuji gained more success by defeating Asako, Katsuji Ueda and Grigory Verichev in a street fight at Year End Spectacular. The following year, Gladiator and Titan participated in a double-elimination tournament for the newly created Brass Knuckles Tag Team Championship, in which they defeated Hideki Hosaka and Hisakatsu Oya in the quarter-final, Jinsei Shinzaki and Masaru Toi in the semi-final and Mr. Gannosuke and Tarzan Goto in the final to succeed in their block and then defeated Atsushi Onita and Katsutoshi Niiyama in the tournament final on January 18, 1994 to win the Brass Knuckles Tag Team Championship, marking Alfonso's first title in FMW. They successfully defended the title against Atsushi Onita and Sambo Asako in a street fight on March 29 and then lost the title to Mr. Pogo and Hisakatsu Oya in their second title defense on April 21. The title loss created dissension between Titan and Gladiator. At 5th Anniversary Show, Gladiator, Titan and Fuji took on Fuyuki-Gun in a match, where Gladiator and Titan had a miscommunication with each other but they still managed to win their match but Gladiator abandoned his partners after the match to quietly end Team Canada. As a result, Gladiator began feuding with Titan and defeated him in their first singles match against each other on July 31. Gladiator won a rematch at Summer Spectacular, before finally losing to Titan on September 7 to end the rivalry. In October, Gladiator joined the new W*ING Alliance with Mr. Pogo, Mitsuhiro Matsunaga, Yukihiro Kanemura, Goro Tsurumi, Horace Boulder, Hideki Hosaka and Hisakatsu Oya. The group mostly consisted of wrestlers from the former W*ING promotion, who held Atsushi Onita and FMW responsible for ending the promotion and had formed the alliance to bring the demise of FMW just like W*ING suffered its demise. On October 28, Gladiator and Pogo defeated Atsushi Onita and Mr. Gannosuke to win the vacant Brass Knuckles Tag Team Championship. They lost the tag titles to Onita and Gannosuke in a rematch on February 24, 1995. At 6th Anniversary Show, Gladiator and Horace Boulder lost to Katsutoshi Niiyama and Masato Tanaka. Later at the event, Mr. Pogo turned on W*ING Alliance by blowing a fireball on Yukihiro Kanemura after Pogo and Kanemura lost their match, which led Gladiator, Boulder and Hisakatsu Oya to follow Pogo and join Lethal Weapon. CANNOTANSWER
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Gladiator formed the first villainous faction in FMW called Team Canada
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Michael Lee Alfonso (January 24, 1965 – February 17, 2007) was an American professional wrestler. He was best known for his appearances with the American professional wrestling promotions Extreme Championship Wrestling, World Championship Wrestling and the World Wrestling Federation/Entertainment under the ring name Mike Awesome and for his appearances in Japan with Frontier Martial-Arts Wrestling and All Japan Pro Wrestling as The Gladiator.
Alfonso achieved the biggest success of his career in FMW as The Gladiator, where he became a three-time world champion, with two reigns as Brass Knuckles Heavyweight Champion and one reign as Independent Heavyweight Champion. His second Brass Knuckles Heavyweight Championship reign from 1996–1997 was the longest reign in the title's history, lasting for 489 days. During this reign, he defeated W*ING Kanemura to unify the title with the Independent Heavyweight Championship at the 1996 Year End Spectacular. He would then tour with ECW, where he became a two-time World Heavyweight Champion. He was a member of two separate stables Team Canada in both FMW and WCW.
Professional wrestling career
Early career (1989–1990)
Alfonso was trained to wrestle by Steve Keirn, debuting on February 26, 1989 at the Eddie Graham Sports Complex in Orlando, Florida. Alfonso trained for about one year along with former professional wrestlers, Dennis Knight (Mideon, Phineas Godwin) and "Big" Al Green before making his debut. Alfonso competed in Florida Championship Wrestling, USWA, NWA and World Championship Wrestling, before making his way to FMW in Japan.
Frontier Martial-Arts Wrestling
Initial years (1990–1992)
Alfonso moved on to Japan, joining Frontier Martial-Arts Wrestling (FMW) in September 1990 and using the name The Gladiator. He was recruited by FMW as the replacement for Al Green, who was originally scheduled to compete as Gladiator but moved to WCW. Alfonso debuted in FMW as a monster villain on September 20 in a street fight with Mr. Pogo against Atsushi Onita and Jimmy Backlund, which Alfonso's team won. Gladiator was Pogo's ally who feuded with Onita and competed with Pogo against Onita and his partners. He lost to Onita in a Chain Deathmatch on October 1, after which Alfonso returned to United States. Onita was impressed by Gladiator and called him back for more tours with FMW. He returned to the company as Mr. Pogo's partner in a tag team tournament on January 6, 1991, where the duo lost their first match in the tournament against Onita and Sambo Asako. Pogo and Gladiator made to the semi-final, where they beat Grigory Verichev and Boris Gogichashivili and then defeated Onita and Asako in the final on January 15 to win the tournament. The success of the tournament led Alfonso to work full-time with FMW.
In the summer of 1991, Gladiator would form a villainous alliance with Tarzan Goto, Big Titan and Horace Boulder after Mr. Pogo's departure from FMW and resumed the feud with Atsushi Onita. On August 17, Gladiator participated in the Barbed Wire Deathmatch Tournament, in which he defeated Horace Boulder in the quarter-final and lost to Sambo Asako in the semi-final. During this time, Gladiator was inspired by Damian's lucha libre videos on travels, which led him to adopt a high-flying style despite his big size. The following month, Gladiator and Big Titan defeated Sambo Asako and Ricky Fuji in a street fight stretcher match at the 2nd Anniversary Show. This partnership led the two to form a tag team which lasted nearly three years. In the fall of the year, Gladiator and Titan participated in the World's Strongest Tag Team Tournament to determine the inaugural WWA World Martial Arts Tag Team Champions, but were eliminated from the round robin stage with total six points. Gladiator and his allies would join The Sheik and Sabu to resume the feud with Onita and his allies throughout 1992. At 3rd Anniversary Show, Big Titan, The Gladiator and Horace Boulder defeated Sambo Asako, Ricky Fuji and The Great Punk in a street fight stretcher match. Later that year, Gladiator and Boulder participated in the Street Fight Tag Team Tournament, where they qualified for the semi-final against Tarzan Goto and Big Titan, which they lost.
Team Canada and W*ING Alliance (1993–1995)
In 1993, Gladiator formed the first villainous faction in FMW called Team Canada with Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal after The Sheik and Sabu turned fan favorites and formed an alliance with Atsushi Onita. At 4th Anniversary Show, the team of Gladiator, Ricky Fuji and Big Titan defeated Katsuji Ueda, The Great Punk and Tarzan Goto in a Captain's Fall Losing Captain Leaves Town No Rope Barbed Wire Tornado Street Fight Deathmatch, which Team Canada won. The group strengthened its dominance after Mr. Pogo returned to FMW in the summer of 1993 and took over as the leader of the group. Gladiator and Titan were defeated by Sambo Asako and Mr. Gannosuke at Summer Spectacular. The team of Gladiator, Titan and Fuji gained more success by defeating Asako, Katsuji Ueda and Grigory Verichev in a street fight at Year End Spectacular.
The following year, Gladiator and Titan participated in a double-elimination tournament for the newly created Brass Knuckles Tag Team Championship, in which they defeated Hideki Hosaka and Hisakatsu Oya in the quarter-final, Jinsei Shinzaki and Masaru Toi in the semi-final and Mr. Gannosuke and Tarzan Goto in the final to succeed in their block and then defeated Atsushi Onita and Katsutoshi Niiyama in the tournament final on January 18, 1994 to win the Brass Knuckles Tag Team Championship, marking Alfonso's first title in FMW. They successfully defended the title against Atsushi Onita and Sambo Asako in a street fight on March 29 and then lost the title to Mr. Pogo and Hisakatsu Oya in their second title defense on April 21. The title loss created dissension between Titan and Gladiator. At 5th Anniversary Show, Gladiator, Titan and Fuji took on Fuyuki-Gun in a match, where Gladiator and Titan had a miscommunication with each other but they still managed to win their match but Gladiator abandoned his partners after the match to quietly end Team Canada. As a result, Gladiator began feuding with Titan and defeated him in their first singles match against each other on July 31. Gladiator won a rematch at Summer Spectacular, before finally losing to Titan on September 7 to end the rivalry.
In October, Gladiator joined the new W*ING Alliance with Mr. Pogo, Mitsuhiro Matsunaga, Yukihiro Kanemura, Goro Tsurumi, Horace Boulder, Hideki Hosaka and Hisakatsu Oya. The group mostly consisted of wrestlers from the former W*ING promotion, who held Atsushi Onita and FMW responsible for ending the promotion and had formed the alliance to bring the demise of FMW just like W*ING suffered its demise. On October 28, Gladiator and Pogo defeated Atsushi Onita and Mr. Gannosuke to win the vacant Brass Knuckles Tag Team Championship. They lost the tag titles to Onita and Gannosuke in a rematch on February 24, 1995. At 6th Anniversary Show, Gladiator and Horace Boulder lost to Katsutoshi Niiyama and Masato Tanaka. Later at the event, Mr. Pogo turned on W*ING Alliance by blowing a fireball on Yukihiro Kanemura after Pogo and Kanemura lost their match, which led Gladiator, Boulder and Hisakatsu Oya to follow Pogo and join Lethal Weapon.
Longest reigning world champion (1995–1997)
The retirement of Atsushi Onita led FMW to change its direction from deathmatch wrestling to technical wrestling style and Gladiator received a strong push as the arch rival of the company's new top star Hayabusa. He was booked to win the Grand Slam Tournament in September, in which he defeated Hayabusa in the tournament final on September 26 to win the company's top title, the vacant Brass Knuckles Heavyweight Championship and cemented his place as the company's top villain. Gladiator made his first successful title defense against Horace Boulder on October 25. He suffered a knee injury in the fall of 1995, which forced him to vacate the title on January 5, 1996. Gladiator returned from injury to challenge Super Leather for the title on March 15, but was defeated by Leather. During this time, Víctor Quinones' group Puerto Rican Army overturned W*ING and Lethal Weapon to become the top villainous group in FMW and Quinones was luring away members of both factions into his Puerto Rican Army, which led Gladiator to turn fan favorite for the first time in his career. At 7th Anniversary Show, Hisakatsu Oya, Horace Boulder and The Gladiator lost to Super Leather and The Headhunters in a match for the inaugural World Street Fight 6-Man Tag Team Championship.
On May 27, Gladiator defeated Super Leather to win his second Brass Knuckles Heavyweight Championship. Gladiator successfully defended the title against Leather in a rematch on September 1. On September 15, Gladiator and Horace Boulder turned on Ricky Fuji during a match against Hideki Hosaka, Hido and Taka Michinoku. The entire Lethal Weapon attacked Fuji and turned on him to join Terry Funk's new group Funk Masters of Wrestling, which led Gladiator to turn into a villain again. On October 12, Gladiator attacked W*ING Kanemura after Kanemura successfully defended the Independent Heavyweight Championship against Hisakatsu Oya and Gladiator challenged Kanemura to a title unification match for both Brass Knuckles Heavyweight Championship and the Independent Heavyweight Championship at Year End Spectacular, which Gladiator won and unified both titles to become the first-ever FMW Double Champion. Gladiator successfully defended his Double Championship against Masato Tanaka on February 18, 1997. Gladiator would then resume his feud with the returning Atsushi Onita as the team of Gladiator, Terry Funk and Cactus Jack was defeated by Atsushi Onita, Masato Tanaka and W*ING Kanemura at 8th Anniversary Show on April 29. The following day, on April 30, Gladiator surpassed Atsushi Onita's fourth reign of 337 days to become the longest reigning Brass Knuckles Heavyweight Champion by having reigned for 338 days at that point.
On August 5, Hisakatsu Oya, Mr. Gannosuke and The Gladiator defeated Fuyuki-Gun at a Fuyuki Army show to win the World Street Fight 6-Man Tag Team Championship. They lost the title to the team of Hayabusa, Koji Nakagawa and Masato Tanaka on August 31. At Kawasaki Legend: Fall Spectacular, Gladiator lost the Double Championship to Masato Tanaka, thus ending his Brass Knuckles Heavyweight Championship reign at 489 days and his Independent Heavyweight Championship reign at 291 days, making him the longest reigning Brass Knuckles Heavyweight Champion and the longest reigning Independent Heavyweight Champion.
ZEN and departure (1997–1998)
Following Terry Funk's departure from FMW, Funk Masters (FMW) of Wrestling began to cripple as Atsushi Onita denounced himself as a FMW wrestler and formed ZEN on September 30, 1997 to feud with FMW. On October 21, Super Leather and The Gladiator lost a match to their former teammates Hisakatsu Oya and Mr. Gannosuke, after which Gladiator attacked Leather and officially ended Funk Masters of Wrestling. Later that night, Gladiator attacked Hayabusa after ZEN members defeated Hayabusa's team in the main event and then Gladiator raised the flag of ZEN and joined ZEN, which marked the first time in his career that he had become Atsushi Onita's ally after having feuded with him for the past seven years. Gladiator had lost his significance as a main event competitor after losing the Double Championship despite being the longest reigning champion and became a mid-card member of ZEN. The group turned fan favorites in the fall of 1997 when three of its members Mr. Gannosuke, Yukihiro Kanemura and Hido turned on Atsushi Onita and left the group and they would form Team No Respect in 1998.
In March, Gladiator participated in a tournament to determine the #1 contender for the Double Championship at 9th Anniversary Show. He defeated Hisakatsu Oya in the quarter-final and Yukihiro Kanemura in the semi-final to become the runner-up of the tournament as he lost to Hayabusa in the final. At FMW's first pay-per-view event FMW 9th Anniversary Show, Gladiator teamed with ZEN teammate Tetsuhiro Kuroda to take on TNR members Super Leather and Horace Boulder in a losing effort. Later at the event, Atsushi Onita lost a match to TNR member Kodo Fuyuki, which forced Onita to end ZEN. Gladiator became a free agent after ZEN's dissolution on May 5. Gladiator's last pay-per-view appearance in FMW was at the Welcome to the Darkside pay-per-view on August 22, where he defeated Naohiko Yamazaki, Yoshinori Sasaki and Mr. Pogo #2 in a gauntlet match. On August 26, Gladiator wrestled his last FMW match, in which he defeated longtime rival Super Leather. Alfonso injured his knee during the match and went on a hiatus, during which he returned to United States and toured with Extreme Championship Wrestling (ECW) for the rest of the year. He left the company due to disagreement over Kodo Fuyuki's style of booking.
All Japan Pro Wrestling (1998–1999)
Alfonso wrestled as The Gladiator for a brief period in All Japan Pro Wrestling in 1998 and 1999.
Eastern/Extreme Championship Wrestling (1993-1994, 1997, 1998, 1999–2000)
In 1993, Alfonso appeared in NWA Eastern Championship Wrestling (ECW) for a short period (as "Awesome" Mike Awesome), he was convinced to do so by Sabu, whom he befriended during their time in Japan. After Sabu started working for ECW, he returned to Japan and told Michael about the promotion and how he should work there. Although he was initially hesitant, citing a lack of interest, Sabu managed to talk Alfonso into it, who used his frequent-flier miles to go to Philadelphia and wrestle a match for ECW.
On February 5, 1994 at ECW's event, The Night the Line Was Crossed, Awesome nearly injured wrestler, J.T. Smith when he performed a high-risk dive to the outside of the ring. Smith's back was folded backwards against the guard rail during the impact. This spot appeared in many ECW highlight reels including the intro to a variety of their television programs for years to come. (according to ECW announcer Joey Styles his own reaction to the spot inspired his "Oh my God" catchphrase).
Awesome returned to ECW in January 1997 at House Party, defeating Balls Mahoney. At Crossing the Line Again the following month, he lost to Louie Spicolli, departing ECW once more thereafter.
In January 1998, Awesome began appearing for ECW again and continued his feud with Masato Tanaka in the United States. Awesome began in ECW by losing to Tanaka on an episode ECW's weekly Hardcore TV. However, following the match, he delivered an Awesome Bomb to Tanaka over the top rope through a table set up on the outside. Awesome lost to Tanaka again at the August Heat Wave pay-per-view event. In September 1998 at UltraClash, Awesome tore his anterior cruciate ligament in a bout with Balls Mahoney; he did not wrestle again until September 1999.
Almost immediately upon arriving in ECW for his third stint in September 1999, he shocked the wrestling world by winning the ECW World Heavyweight Championship at Anarchy Rulz by defeating the reigning champion Taz and nemesis Masato Tanaka in a three-way dance, which was signed on the spot. Awesome continued to be a major factor in ECW early in 2000, including teaming with Raven to beat Tanaka and Tommy Dreamer for the ECW World Tag Team Championship. He gained a new manager, Judge Jeff Jones, who managed Awesome to the top of winning the ECW World Heavyweight Championship twice in 1999.
World Championship Wrestling (2000–2001)
On April 10, 2000, Awesome made a surprise appearance on WCW Monday Nitro—aiding The New Blood by attacking Kevin Nash—while still reigning as ECW World Heavyweight Champion. Awesome's friend Lance Storm has said that he had refused to sign a new contract with ECW until Paul Heyman paid him overdue wages.
Due to concerns over legal issues WCW refrained from having Awesome appear on their television shows with the ECW belt. Eventually, a compromise was reached. Awesome (a WCW employee and ECW champion) appeared a few days later at an ECW event in Indianapolis, Indiana, accompanied by WCW's head of security, where he lost the title to Tazz (a World Wrestling Federation employee), who lost it a week later to Tommy Dreamer (a full-time ECW wrestler) (who incidentally lost it approximately 20 minutes later to Justin Credible). In a shoot interview released by Highspots in 2005, Awesome expressed that he would have rather faced off with his former ECW and WWE colleague Rhyno and suggested that they could have put on a more entertaining match regardless of the circumstances and the manner in which he had left ECW.
Now with WCW, Awesome continued to be a major factor with the New Blood for the next month, teaming with Billy Kidman occasionally to aid him in his feud with Hulk Hogan. Awesome also engaged in an on-and-off feud with Kevin Nash, as well as feuding with Diamond Dallas Page and Kanyon. In May 2000, Awesome threw Kanyon off the top of the first level of a triple cage onto the entrance ramp, which started his "Career Killer" gimmick.
After Bash at the Beach in July 2000, his gimmick was tweaked, with him becoming infatuated with heavyset women and calling himself "The Fat Chick Thriller", and feuded with Scott Steiner and Lance Storm for the WCW United States Championship.
On the September 6, 2000 edition of Thunder, Awesome's gimmick was changed to "That '70s Guy" (a reference to the TV series That '70s Show), for which he dressed in 1970s-inspired attire and hosted the "Lava Lamp Lounge" interview segment. He was additionally given a bus that resembled the one featured on The Partridge Family to drive into arenas as part of his entrance. During this time, he had a feud with Vampiro, which resulted in brawls between Awesome and Vampiro's allies, the rap duo Insane Clown Posse (Violent J and Shaggy 2 Dope). Awesome battled both ICP members in a handicap match on an episode of Nitro, during which he hit Shaggy with a powerbomb on the roof of the bus that caused Shaggy to fall to the concrete floor below.
On the January 3, 2001 edition of Thunder, Awesome dropped the 1970s gimmick in favor of a "Canadian Career Killer" gimmick and joined WCW's Team Canada stable with Lance Storm and Elix Skipper. A feud with The Filthy Animals led to Awesome challenging Billy Kidman to a Hair-vs-Hair match, on January 15, however before the bout could take place, Team Canada attacked Kidman backstage, leaving him unable to compete. Kidman's bald stablemate Konnan replaced him and got the win, giving the Animals the right to cut off Awesome's longtime mullet. Awesome then faded into the background, mostly helping Storm in his battles against Ernest "The Cat" Miller. On the final Nitro on March 26, 2001 Awesome and Storm were defeated by Chuck Palumbo and Sean O'Haire in a WCW World Tag Team Championship match.
In an shoot interview released by Highspots in 2003, Awesome conspired that the infamous incident between Vince Russo and Hulk Hogan at Bash at the Beach 2000 may have been one of the underlying reasons as to why he was plagued by a string of unfavorable gimmicks. As a cousin of Michael Bollea (Horace Hogan, who also left WCW following the incident), Awesome suggested that Russo may have thought that he was just "too close of kin" to Hulk Hogan and decided to take it out on him.
World Wrestling Federation/Entertainment (1996, 2001–2002)
He first made a appearance in WWF as a jobber on December 12, 1996 losing to Justin Credible who was known then as Aldo Montoya in a dark match for WWF Superstars of Wrestling.
After the March 2001 purchase of WCW by the World Wrestling Federation (WWF), Awesome became part of The Invasion storyline in the WWF. His WWF debut came on the June 25, 2001 episode of Raw during a match which saw Test defending his Hardcore Championship against Rhyno. After Rhyno Gored Test against a wall and pinned him he stood celebrating his new title only to be attacked by Awesome wielding a metal pipe. He then powerbombed Rhyno onto a ladder and pinned him, becoming champion himself due to the 24/7 rule. Awesome was the first "Invader" to gain gold in the WWF, stealing away with the Hardcore belt before any WWF wrestlers could catch him. Awesome's hardcore reign came to an end a few weeks later on the July 12 edition of SmackDown! when he was pinned by Jeff Hardy, thanks to distraction from Edge.
Awesome defeated Edge on the July 16 episode of Raw.
The feud continued when Edge introduced his tag team partner Christian into the rivalry. Awesome and Lance Storm were defeated by Edge and Christian at Invasion on July 22, Awesome's first WWF pay-per-view match. From here Awesome's push diminished and he began appearing mostly on WWF's b-shows, before being sidelined with an injury in November 2001.
Awesome returned to the SmackDown! brand on the July 27, 2002 edition of Velocity where he was defeated by Tajiri. Awesome was a mainstay on Velocity, SmackDown!'s tertiary show, for the next few months jobbing to wrestlers such as Faarooq, Bull Buchanan, Mark Henry and Funaki.
Awesome was released from the WWE on September 27, 2002 along with Shawn Stasiak and Horace Hogan. Awesome was quoted saying, "Being in the WWE (formerly the WWF) sucked. I hated it. You had to kiss everybody's ass... You had to be on your political toes all the time. You would not believe the backstage politics. You were getting stabbed in the back constantly. I was so happy when I was told I was gone".
Later Career (2002–2006)
From 2002 to 2006, Awesome competed on the independent circuit in the United States and Japan where he returned to All Japan Pro Wrestling as "The Gladiator" once again. On the independent circuit, he had a short stint with Major League Wrestling (MLW) where he won the MLW World Heavyweight Championship from Satoshi Kojima, only to lose it ten minutes later to Steve Corino (Kojima's employers, AJPW would not allow him to drop the title to an employee of a rival company Zero-1).
He worked for Pro Wrestling Noah from 2004 to 2005.
In February 2006, after 17 years in the ring, Awesome announced his retirement from wrestling, saying he wanted to spend more time with his family and adding that he felt underpaid for his work at the One Night Stand event and that he would only return to the ring "if the money was right".
Total Nonstop Action Wrestling (2003)
In April 2003, Awesome debuted in Total Nonstop Action Wrestling. He wrestled several matches for the promotion before leaving in May 2003. His TNA in-ring debut was on April 16, 2003 where Awesome defeated Perry Saturn by DQ when The Sandman and New Jack interfered. On April 23, Awesome teamed with Brian Lee and Slash in a losing effort against Perry Saturn, New Jack and The Sandman. On May 14, Awesome competed in his final TNA match where he lost to Mike Sanders in a Tables Match.
Return to WWE (2005)
Awesome made an appearance at WWE's (formerly the WWF) ECW One Night Stand reunion pay-per-view on June 13, 2005, defeating Masato Tanaka. The crowd greeted Awesome with jeers at the beginning of the match, and commentator Joey Styles made frequent references to Awesome's leaving of ECW for WCW, but by the end the crowd were chanting "this match rules!" and gave both men a standing ovation.
Other media
Alfonso appeared in at least four wrestling video games including ECW Hardcore Revolution, WCW Backstage Assault, Virtual Pro Wrestling 2: Ōdō Keishō, and Fire Pro Wrestling Returns. The ECW toy series manufactured by Original San Francisco Toymakers released a Mike Awesome action figure in 2000. A WCW action figure of Awesome was released by Toy Biz in 2001.
Personal life
Alfonso attended King High School in Tampa, Florida and trained at Stan's Gym, an old school muscle gym, on 56th Street. On May 11, 1991, he married his high school sweetheart Delisa Diann Bowers in Hillsborough, Florida. They had two children together; son Casey (born 1996) and daughter Carissa (born 2000). Alfonso was an avid outdoorsman and enjoyed fishing and trail bike riding with friends and his son. He enjoyed mountain biking and would ride frequently at Alafia River State Park in Florida, close to his Tampa home.
Alfonso was the cousin of Hulk Hogan's nephew Michael Bollea, who was better known for his stint in WCW under the name Horace Hogan. He is no relation of fellow ECW alumnus Bill Alfonso.
After Awesome's retirement from professional wrestling, he served as a real estate agent in New Tampa, Florida.
Death
On February 17, 2007, a group of Alfonso's friends found him dead after he had hung himself inside his Tampa home. He was 42 years old. WWE acknowledged his death on the February 20 broadcast of ECW on Sci-Fi with an "In Memory..." graphic at the opening of the program, and two days later his family received friends at Serenity Meadows Funeral Home in Riverview, Florida.
Championships and accomplishments
Extreme Championship Wrestling
ECW World Heavyweight Championship (2 times)
ECW World Tag Team Championship (1 time) – with Raven
Frontier Martial-Arts Wrestling
FMW Independent World Heavyweight Championship (1 time)
FMW World Brass Knuckles Championship (2 times)
FMW World Brass Knuckles Tag Team Championship (2 times) – with Big Titan (1), and Mr. Pogo (1)
FMW World Street Fight 6-Man Tag Team Championship (1 time) – with Mr. Gannosuke and Hisakatsu Oya
FMW Tag Team Tournament (1991) – with Mr. Pogo
FMW Brass Knuckles Tag Team Championship Tournament (1994) – with Big Titan
Grand Slam Tournament (1995)
FMW World Street Fight 6-Man Tag Team Championship Tournament (1997) – with Hisakatsu Oya and Mr. Gannosuke
Major League Wrestling
MLW World Heavyweight Championship (1 time)
Pro Wrestling Illustrated
Ranked No. 7 of the top 500 singles wrestlers in the PWI 500 in 2000
World Wrestling Federation
WWF Hardcore Championship (1 time)
Wrestling Observer Newsletter
Worst Gimmick (2000)
See also
List of premature professional wrestling deaths
References
External links
1965 births
2007 deaths
2007 suicides
American male professional wrestlers
C. Leon King High School alumni
ECW Heavyweight Champions/ECW World Heavyweight Champions
ECW World Tag Team Champions
Expatriate professional wrestlers in Japan
Sportspeople from Tampa, Florida
Professional wrestlers from Florida
Suicides by hanging in Florida
WWF/WWE Hardcore Champions
American expatriate sportspeople in Japan
| true |
[
"The Montreal Jazz () were a Canadian professional basketball team based in Montreal, Quebec, Canada. The team played its only season in the National Basketball League of Canada in the 2012-2013 season, in place of the Laval Kebs. The Jazz played its home games at the Centre Pierre Charbonneau.\n\nThe Jazz did not play in the 2013-14 NBL Canada season after failing to secure a new ownership group.\n\nHistory\nOn October 26, 2012 NBL Canada announced that a Montreal expansion team would join the league in place of the recently folded Laval Kebs.\n\nIt was announced on November 1, 2012 that the team would be named the Montreal Jazz.\n\nAfter finishing the 2012-13 NBL Canada season with a disappointing 2-38 record and without an owner, the NBL Canada Board of Governors decided to suspend the Jazz for the 2013-14 season.\n\n2012-13 Roster\n\nInjured reserve\n\nOnly season record\n\nReferences\n\nExternal links\n \n\nDefunct National Basketball League of Canada teams\nBasketball teams established in 2012\n2012 establishments in Quebec\nBasketball teams disestablished in 2013\n2013 disestablishments in Quebec\nBasketball teams in Montreal",
"Robert Mayhew (born October 8, 1993 in Halifax, Nova Scotia) is a Canadian curler. He is the son of 1977 World Junior champion lead Alan Mayhew. Robert Mayhew has represented the Nova Scotia at the 2011 Canada Winter Games and the 2014 Canadian Junior Curling Championships.\n\nCareer \n\nFor the Under 15 Mayhew curled with teammates Alex Macneil, Joe Organ, and Ben Organ. Together they did not win any Nova Scotia Under 15 titles.\n\nMayhew left the team to join with Michael Brophy, Jacob LeBlanc and Eric Sampson. This team played together for one year with minimal success, after which, Brophy and LeBlanc left the team. Mayhew and Sampson joined forces with Nick Burdock and Dillon O'Leary to attempt to represent Nova Scotia at the Canada Winter Games in Halifax in 2011. The new team had a rough start in the 2010 season. The team did not place highly in any junior events in Nova Scotia. The team did not place well at the Under 18 Championships either. However, the team did capture the second spot available for the Nova Scotia Canada Winter Games playdowns held later that year.\n\nIn September 2010, the team won an Atlantic Invitational for all the Atlantic region's Canada Games teams and the four that were playing down in November for Nova Scotia. They went through the event undefeated. In November, the Canada Games Team selection occurred. The event was a four team Round Robin with a Page playoff system. Team Mayhew went undefeated in round robin play but lost in the 1v2 page playoff against former teammates Brophy and Leblanc. Mayhew played the third ranked team and won gaining a berth to the final. The final game came down to an extra end where team Mayhew did not have the last rock advantage. In the end, team Mayhew won after a missed tough shot by their opponents. In December, team Mayhew also tried to enter the Under 21 (Junior) provincials through the last chance. The team was successful and obtained the last available spot in the province and earned a berth to Junior provincials in Truro, Nova Scotia. At Junior provincials later that month, managed to get third place with a 3-3 record.\n\nIn February 2011, Team Mayhew played in the 2011 Canada Winter Games. The team had a record of 4 wins and 2 losses, beating PEI (6-2), Northwest Territories (5-4), Quebec (4-2), and Alberta in the crossover game (4-3); and losing to New Brunswick (5-6) and Saskatchewan (1-8).\n\nReferences\n\n1993 births\nCurlers from Nova Scotia\nLiving people\nSportspeople from Halifax, Nova Scotia\nCanadian male curlers"
] |
[
"Mike Awesome",
"Team Canada and W*ING Alliance (1993-1995)",
"how did he join Team Canada?",
"Gladiator formed the first villainous faction in FMW called Team Canada"
] |
C_e663e88e71f04541acab03b62631f02c_1
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How many people are on the team?
| 2 |
How many people are on Team Canada of FMW?
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Mike Awesome
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In 1993, Gladiator formed the first villainous faction in FMW called Team Canada with Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal after The Sheik and Sabu turned fan favorites and formed an alliance with Atsushi Onita. At 4th Anniversary Show, the team of Gladiator, Ricky Fuji and Big Titan defeated Katsuji Ueda, The Great Punk and Tarzan Goto in a Captain's Fall Losing Captain Leaves Town No Rope Barbed Wire Tornado Street Fight Deathmatch, which Team Canada won. The group strengthened its dominance after Mr. Pogo returned to FMW in the summer of 1993 and took over as the leader of the group. Gladiator and Titan were defeated by Sambo Asako and Mr. Gannosuke at Summer Spectacular. The team of Gladiator, Titan and Fuji gained more success by defeating Asako, Katsuji Ueda and Grigory Verichev in a street fight at Year End Spectacular. The following year, Gladiator and Titan participated in a double-elimination tournament for the newly created Brass Knuckles Tag Team Championship, in which they defeated Hideki Hosaka and Hisakatsu Oya in the quarter-final, Jinsei Shinzaki and Masaru Toi in the semi-final and Mr. Gannosuke and Tarzan Goto in the final to succeed in their block and then defeated Atsushi Onita and Katsutoshi Niiyama in the tournament final on January 18, 1994 to win the Brass Knuckles Tag Team Championship, marking Alfonso's first title in FMW. They successfully defended the title against Atsushi Onita and Sambo Asako in a street fight on March 29 and then lost the title to Mr. Pogo and Hisakatsu Oya in their second title defense on April 21. The title loss created dissension between Titan and Gladiator. At 5th Anniversary Show, Gladiator, Titan and Fuji took on Fuyuki-Gun in a match, where Gladiator and Titan had a miscommunication with each other but they still managed to win their match but Gladiator abandoned his partners after the match to quietly end Team Canada. As a result, Gladiator began feuding with Titan and defeated him in their first singles match against each other on July 31. Gladiator won a rematch at Summer Spectacular, before finally losing to Titan on September 7 to end the rivalry. In October, Gladiator joined the new W*ING Alliance with Mr. Pogo, Mitsuhiro Matsunaga, Yukihiro Kanemura, Goro Tsurumi, Horace Boulder, Hideki Hosaka and Hisakatsu Oya. The group mostly consisted of wrestlers from the former W*ING promotion, who held Atsushi Onita and FMW responsible for ending the promotion and had formed the alliance to bring the demise of FMW just like W*ING suffered its demise. On October 28, Gladiator and Pogo defeated Atsushi Onita and Mr. Gannosuke to win the vacant Brass Knuckles Tag Team Championship. They lost the tag titles to Onita and Gannosuke in a rematch on February 24, 1995. At 6th Anniversary Show, Gladiator and Horace Boulder lost to Katsutoshi Niiyama and Masato Tanaka. Later at the event, Mr. Pogo turned on W*ING Alliance by blowing a fireball on Yukihiro Kanemura after Pogo and Kanemura lost their match, which led Gladiator, Boulder and Hisakatsu Oya to follow Pogo and join Lethal Weapon. CANNOTANSWER
|
Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal
|
Michael Lee Alfonso (January 24, 1965 – February 17, 2007) was an American professional wrestler. He was best known for his appearances with the American professional wrestling promotions Extreme Championship Wrestling, World Championship Wrestling and the World Wrestling Federation/Entertainment under the ring name Mike Awesome and for his appearances in Japan with Frontier Martial-Arts Wrestling and All Japan Pro Wrestling as The Gladiator.
Alfonso achieved the biggest success of his career in FMW as The Gladiator, where he became a three-time world champion, with two reigns as Brass Knuckles Heavyweight Champion and one reign as Independent Heavyweight Champion. His second Brass Knuckles Heavyweight Championship reign from 1996–1997 was the longest reign in the title's history, lasting for 489 days. During this reign, he defeated W*ING Kanemura to unify the title with the Independent Heavyweight Championship at the 1996 Year End Spectacular. He would then tour with ECW, where he became a two-time World Heavyweight Champion. He was a member of two separate stables Team Canada in both FMW and WCW.
Professional wrestling career
Early career (1989–1990)
Alfonso was trained to wrestle by Steve Keirn, debuting on February 26, 1989 at the Eddie Graham Sports Complex in Orlando, Florida. Alfonso trained for about one year along with former professional wrestlers, Dennis Knight (Mideon, Phineas Godwin) and "Big" Al Green before making his debut. Alfonso competed in Florida Championship Wrestling, USWA, NWA and World Championship Wrestling, before making his way to FMW in Japan.
Frontier Martial-Arts Wrestling
Initial years (1990–1992)
Alfonso moved on to Japan, joining Frontier Martial-Arts Wrestling (FMW) in September 1990 and using the name The Gladiator. He was recruited by FMW as the replacement for Al Green, who was originally scheduled to compete as Gladiator but moved to WCW. Alfonso debuted in FMW as a monster villain on September 20 in a street fight with Mr. Pogo against Atsushi Onita and Jimmy Backlund, which Alfonso's team won. Gladiator was Pogo's ally who feuded with Onita and competed with Pogo against Onita and his partners. He lost to Onita in a Chain Deathmatch on October 1, after which Alfonso returned to United States. Onita was impressed by Gladiator and called him back for more tours with FMW. He returned to the company as Mr. Pogo's partner in a tag team tournament on January 6, 1991, where the duo lost their first match in the tournament against Onita and Sambo Asako. Pogo and Gladiator made to the semi-final, where they beat Grigory Verichev and Boris Gogichashivili and then defeated Onita and Asako in the final on January 15 to win the tournament. The success of the tournament led Alfonso to work full-time with FMW.
In the summer of 1991, Gladiator would form a villainous alliance with Tarzan Goto, Big Titan and Horace Boulder after Mr. Pogo's departure from FMW and resumed the feud with Atsushi Onita. On August 17, Gladiator participated in the Barbed Wire Deathmatch Tournament, in which he defeated Horace Boulder in the quarter-final and lost to Sambo Asako in the semi-final. During this time, Gladiator was inspired by Damian's lucha libre videos on travels, which led him to adopt a high-flying style despite his big size. The following month, Gladiator and Big Titan defeated Sambo Asako and Ricky Fuji in a street fight stretcher match at the 2nd Anniversary Show. This partnership led the two to form a tag team which lasted nearly three years. In the fall of the year, Gladiator and Titan participated in the World's Strongest Tag Team Tournament to determine the inaugural WWA World Martial Arts Tag Team Champions, but were eliminated from the round robin stage with total six points. Gladiator and his allies would join The Sheik and Sabu to resume the feud with Onita and his allies throughout 1992. At 3rd Anniversary Show, Big Titan, The Gladiator and Horace Boulder defeated Sambo Asako, Ricky Fuji and The Great Punk in a street fight stretcher match. Later that year, Gladiator and Boulder participated in the Street Fight Tag Team Tournament, where they qualified for the semi-final against Tarzan Goto and Big Titan, which they lost.
Team Canada and W*ING Alliance (1993–1995)
In 1993, Gladiator formed the first villainous faction in FMW called Team Canada with Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal after The Sheik and Sabu turned fan favorites and formed an alliance with Atsushi Onita. At 4th Anniversary Show, the team of Gladiator, Ricky Fuji and Big Titan defeated Katsuji Ueda, The Great Punk and Tarzan Goto in a Captain's Fall Losing Captain Leaves Town No Rope Barbed Wire Tornado Street Fight Deathmatch, which Team Canada won. The group strengthened its dominance after Mr. Pogo returned to FMW in the summer of 1993 and took over as the leader of the group. Gladiator and Titan were defeated by Sambo Asako and Mr. Gannosuke at Summer Spectacular. The team of Gladiator, Titan and Fuji gained more success by defeating Asako, Katsuji Ueda and Grigory Verichev in a street fight at Year End Spectacular.
The following year, Gladiator and Titan participated in a double-elimination tournament for the newly created Brass Knuckles Tag Team Championship, in which they defeated Hideki Hosaka and Hisakatsu Oya in the quarter-final, Jinsei Shinzaki and Masaru Toi in the semi-final and Mr. Gannosuke and Tarzan Goto in the final to succeed in their block and then defeated Atsushi Onita and Katsutoshi Niiyama in the tournament final on January 18, 1994 to win the Brass Knuckles Tag Team Championship, marking Alfonso's first title in FMW. They successfully defended the title against Atsushi Onita and Sambo Asako in a street fight on March 29 and then lost the title to Mr. Pogo and Hisakatsu Oya in their second title defense on April 21. The title loss created dissension between Titan and Gladiator. At 5th Anniversary Show, Gladiator, Titan and Fuji took on Fuyuki-Gun in a match, where Gladiator and Titan had a miscommunication with each other but they still managed to win their match but Gladiator abandoned his partners after the match to quietly end Team Canada. As a result, Gladiator began feuding with Titan and defeated him in their first singles match against each other on July 31. Gladiator won a rematch at Summer Spectacular, before finally losing to Titan on September 7 to end the rivalry.
In October, Gladiator joined the new W*ING Alliance with Mr. Pogo, Mitsuhiro Matsunaga, Yukihiro Kanemura, Goro Tsurumi, Horace Boulder, Hideki Hosaka and Hisakatsu Oya. The group mostly consisted of wrestlers from the former W*ING promotion, who held Atsushi Onita and FMW responsible for ending the promotion and had formed the alliance to bring the demise of FMW just like W*ING suffered its demise. On October 28, Gladiator and Pogo defeated Atsushi Onita and Mr. Gannosuke to win the vacant Brass Knuckles Tag Team Championship. They lost the tag titles to Onita and Gannosuke in a rematch on February 24, 1995. At 6th Anniversary Show, Gladiator and Horace Boulder lost to Katsutoshi Niiyama and Masato Tanaka. Later at the event, Mr. Pogo turned on W*ING Alliance by blowing a fireball on Yukihiro Kanemura after Pogo and Kanemura lost their match, which led Gladiator, Boulder and Hisakatsu Oya to follow Pogo and join Lethal Weapon.
Longest reigning world champion (1995–1997)
The retirement of Atsushi Onita led FMW to change its direction from deathmatch wrestling to technical wrestling style and Gladiator received a strong push as the arch rival of the company's new top star Hayabusa. He was booked to win the Grand Slam Tournament in September, in which he defeated Hayabusa in the tournament final on September 26 to win the company's top title, the vacant Brass Knuckles Heavyweight Championship and cemented his place as the company's top villain. Gladiator made his first successful title defense against Horace Boulder on October 25. He suffered a knee injury in the fall of 1995, which forced him to vacate the title on January 5, 1996. Gladiator returned from injury to challenge Super Leather for the title on March 15, but was defeated by Leather. During this time, Víctor Quinones' group Puerto Rican Army overturned W*ING and Lethal Weapon to become the top villainous group in FMW and Quinones was luring away members of both factions into his Puerto Rican Army, which led Gladiator to turn fan favorite for the first time in his career. At 7th Anniversary Show, Hisakatsu Oya, Horace Boulder and The Gladiator lost to Super Leather and The Headhunters in a match for the inaugural World Street Fight 6-Man Tag Team Championship.
On May 27, Gladiator defeated Super Leather to win his second Brass Knuckles Heavyweight Championship. Gladiator successfully defended the title against Leather in a rematch on September 1. On September 15, Gladiator and Horace Boulder turned on Ricky Fuji during a match against Hideki Hosaka, Hido and Taka Michinoku. The entire Lethal Weapon attacked Fuji and turned on him to join Terry Funk's new group Funk Masters of Wrestling, which led Gladiator to turn into a villain again. On October 12, Gladiator attacked W*ING Kanemura after Kanemura successfully defended the Independent Heavyweight Championship against Hisakatsu Oya and Gladiator challenged Kanemura to a title unification match for both Brass Knuckles Heavyweight Championship and the Independent Heavyweight Championship at Year End Spectacular, which Gladiator won and unified both titles to become the first-ever FMW Double Champion. Gladiator successfully defended his Double Championship against Masato Tanaka on February 18, 1997. Gladiator would then resume his feud with the returning Atsushi Onita as the team of Gladiator, Terry Funk and Cactus Jack was defeated by Atsushi Onita, Masato Tanaka and W*ING Kanemura at 8th Anniversary Show on April 29. The following day, on April 30, Gladiator surpassed Atsushi Onita's fourth reign of 337 days to become the longest reigning Brass Knuckles Heavyweight Champion by having reigned for 338 days at that point.
On August 5, Hisakatsu Oya, Mr. Gannosuke and The Gladiator defeated Fuyuki-Gun at a Fuyuki Army show to win the World Street Fight 6-Man Tag Team Championship. They lost the title to the team of Hayabusa, Koji Nakagawa and Masato Tanaka on August 31. At Kawasaki Legend: Fall Spectacular, Gladiator lost the Double Championship to Masato Tanaka, thus ending his Brass Knuckles Heavyweight Championship reign at 489 days and his Independent Heavyweight Championship reign at 291 days, making him the longest reigning Brass Knuckles Heavyweight Champion and the longest reigning Independent Heavyweight Champion.
ZEN and departure (1997–1998)
Following Terry Funk's departure from FMW, Funk Masters (FMW) of Wrestling began to cripple as Atsushi Onita denounced himself as a FMW wrestler and formed ZEN on September 30, 1997 to feud with FMW. On October 21, Super Leather and The Gladiator lost a match to their former teammates Hisakatsu Oya and Mr. Gannosuke, after which Gladiator attacked Leather and officially ended Funk Masters of Wrestling. Later that night, Gladiator attacked Hayabusa after ZEN members defeated Hayabusa's team in the main event and then Gladiator raised the flag of ZEN and joined ZEN, which marked the first time in his career that he had become Atsushi Onita's ally after having feuded with him for the past seven years. Gladiator had lost his significance as a main event competitor after losing the Double Championship despite being the longest reigning champion and became a mid-card member of ZEN. The group turned fan favorites in the fall of 1997 when three of its members Mr. Gannosuke, Yukihiro Kanemura and Hido turned on Atsushi Onita and left the group and they would form Team No Respect in 1998.
In March, Gladiator participated in a tournament to determine the #1 contender for the Double Championship at 9th Anniversary Show. He defeated Hisakatsu Oya in the quarter-final and Yukihiro Kanemura in the semi-final to become the runner-up of the tournament as he lost to Hayabusa in the final. At FMW's first pay-per-view event FMW 9th Anniversary Show, Gladiator teamed with ZEN teammate Tetsuhiro Kuroda to take on TNR members Super Leather and Horace Boulder in a losing effort. Later at the event, Atsushi Onita lost a match to TNR member Kodo Fuyuki, which forced Onita to end ZEN. Gladiator became a free agent after ZEN's dissolution on May 5. Gladiator's last pay-per-view appearance in FMW was at the Welcome to the Darkside pay-per-view on August 22, where he defeated Naohiko Yamazaki, Yoshinori Sasaki and Mr. Pogo #2 in a gauntlet match. On August 26, Gladiator wrestled his last FMW match, in which he defeated longtime rival Super Leather. Alfonso injured his knee during the match and went on a hiatus, during which he returned to United States and toured with Extreme Championship Wrestling (ECW) for the rest of the year. He left the company due to disagreement over Kodo Fuyuki's style of booking.
All Japan Pro Wrestling (1998–1999)
Alfonso wrestled as The Gladiator for a brief period in All Japan Pro Wrestling in 1998 and 1999.
Eastern/Extreme Championship Wrestling (1993-1994, 1997, 1998, 1999–2000)
In 1993, Alfonso appeared in NWA Eastern Championship Wrestling (ECW) for a short period (as "Awesome" Mike Awesome), he was convinced to do so by Sabu, whom he befriended during their time in Japan. After Sabu started working for ECW, he returned to Japan and told Michael about the promotion and how he should work there. Although he was initially hesitant, citing a lack of interest, Sabu managed to talk Alfonso into it, who used his frequent-flier miles to go to Philadelphia and wrestle a match for ECW.
On February 5, 1994 at ECW's event, The Night the Line Was Crossed, Awesome nearly injured wrestler, J.T. Smith when he performed a high-risk dive to the outside of the ring. Smith's back was folded backwards against the guard rail during the impact. This spot appeared in many ECW highlight reels including the intro to a variety of their television programs for years to come. (according to ECW announcer Joey Styles his own reaction to the spot inspired his "Oh my God" catchphrase).
Awesome returned to ECW in January 1997 at House Party, defeating Balls Mahoney. At Crossing the Line Again the following month, he lost to Louie Spicolli, departing ECW once more thereafter.
In January 1998, Awesome began appearing for ECW again and continued his feud with Masato Tanaka in the United States. Awesome began in ECW by losing to Tanaka on an episode ECW's weekly Hardcore TV. However, following the match, he delivered an Awesome Bomb to Tanaka over the top rope through a table set up on the outside. Awesome lost to Tanaka again at the August Heat Wave pay-per-view event. In September 1998 at UltraClash, Awesome tore his anterior cruciate ligament in a bout with Balls Mahoney; he did not wrestle again until September 1999.
Almost immediately upon arriving in ECW for his third stint in September 1999, he shocked the wrestling world by winning the ECW World Heavyweight Championship at Anarchy Rulz by defeating the reigning champion Taz and nemesis Masato Tanaka in a three-way dance, which was signed on the spot. Awesome continued to be a major factor in ECW early in 2000, including teaming with Raven to beat Tanaka and Tommy Dreamer for the ECW World Tag Team Championship. He gained a new manager, Judge Jeff Jones, who managed Awesome to the top of winning the ECW World Heavyweight Championship twice in 1999.
World Championship Wrestling (2000–2001)
On April 10, 2000, Awesome made a surprise appearance on WCW Monday Nitro—aiding The New Blood by attacking Kevin Nash—while still reigning as ECW World Heavyweight Champion. Awesome's friend Lance Storm has said that he had refused to sign a new contract with ECW until Paul Heyman paid him overdue wages.
Due to concerns over legal issues WCW refrained from having Awesome appear on their television shows with the ECW belt. Eventually, a compromise was reached. Awesome (a WCW employee and ECW champion) appeared a few days later at an ECW event in Indianapolis, Indiana, accompanied by WCW's head of security, where he lost the title to Tazz (a World Wrestling Federation employee), who lost it a week later to Tommy Dreamer (a full-time ECW wrestler) (who incidentally lost it approximately 20 minutes later to Justin Credible). In a shoot interview released by Highspots in 2005, Awesome expressed that he would have rather faced off with his former ECW and WWE colleague Rhyno and suggested that they could have put on a more entertaining match regardless of the circumstances and the manner in which he had left ECW.
Now with WCW, Awesome continued to be a major factor with the New Blood for the next month, teaming with Billy Kidman occasionally to aid him in his feud with Hulk Hogan. Awesome also engaged in an on-and-off feud with Kevin Nash, as well as feuding with Diamond Dallas Page and Kanyon. In May 2000, Awesome threw Kanyon off the top of the first level of a triple cage onto the entrance ramp, which started his "Career Killer" gimmick.
After Bash at the Beach in July 2000, his gimmick was tweaked, with him becoming infatuated with heavyset women and calling himself "The Fat Chick Thriller", and feuded with Scott Steiner and Lance Storm for the WCW United States Championship.
On the September 6, 2000 edition of Thunder, Awesome's gimmick was changed to "That '70s Guy" (a reference to the TV series That '70s Show), for which he dressed in 1970s-inspired attire and hosted the "Lava Lamp Lounge" interview segment. He was additionally given a bus that resembled the one featured on The Partridge Family to drive into arenas as part of his entrance. During this time, he had a feud with Vampiro, which resulted in brawls between Awesome and Vampiro's allies, the rap duo Insane Clown Posse (Violent J and Shaggy 2 Dope). Awesome battled both ICP members in a handicap match on an episode of Nitro, during which he hit Shaggy with a powerbomb on the roof of the bus that caused Shaggy to fall to the concrete floor below.
On the January 3, 2001 edition of Thunder, Awesome dropped the 1970s gimmick in favor of a "Canadian Career Killer" gimmick and joined WCW's Team Canada stable with Lance Storm and Elix Skipper. A feud with The Filthy Animals led to Awesome challenging Billy Kidman to a Hair-vs-Hair match, on January 15, however before the bout could take place, Team Canada attacked Kidman backstage, leaving him unable to compete. Kidman's bald stablemate Konnan replaced him and got the win, giving the Animals the right to cut off Awesome's longtime mullet. Awesome then faded into the background, mostly helping Storm in his battles against Ernest "The Cat" Miller. On the final Nitro on March 26, 2001 Awesome and Storm were defeated by Chuck Palumbo and Sean O'Haire in a WCW World Tag Team Championship match.
In an shoot interview released by Highspots in 2003, Awesome conspired that the infamous incident between Vince Russo and Hulk Hogan at Bash at the Beach 2000 may have been one of the underlying reasons as to why he was plagued by a string of unfavorable gimmicks. As a cousin of Michael Bollea (Horace Hogan, who also left WCW following the incident), Awesome suggested that Russo may have thought that he was just "too close of kin" to Hulk Hogan and decided to take it out on him.
World Wrestling Federation/Entertainment (1996, 2001–2002)
He first made a appearance in WWF as a jobber on December 12, 1996 losing to Justin Credible who was known then as Aldo Montoya in a dark match for WWF Superstars of Wrestling.
After the March 2001 purchase of WCW by the World Wrestling Federation (WWF), Awesome became part of The Invasion storyline in the WWF. His WWF debut came on the June 25, 2001 episode of Raw during a match which saw Test defending his Hardcore Championship against Rhyno. After Rhyno Gored Test against a wall and pinned him he stood celebrating his new title only to be attacked by Awesome wielding a metal pipe. He then powerbombed Rhyno onto a ladder and pinned him, becoming champion himself due to the 24/7 rule. Awesome was the first "Invader" to gain gold in the WWF, stealing away with the Hardcore belt before any WWF wrestlers could catch him. Awesome's hardcore reign came to an end a few weeks later on the July 12 edition of SmackDown! when he was pinned by Jeff Hardy, thanks to distraction from Edge.
Awesome defeated Edge on the July 16 episode of Raw.
The feud continued when Edge introduced his tag team partner Christian into the rivalry. Awesome and Lance Storm were defeated by Edge and Christian at Invasion on July 22, Awesome's first WWF pay-per-view match. From here Awesome's push diminished and he began appearing mostly on WWF's b-shows, before being sidelined with an injury in November 2001.
Awesome returned to the SmackDown! brand on the July 27, 2002 edition of Velocity where he was defeated by Tajiri. Awesome was a mainstay on Velocity, SmackDown!'s tertiary show, for the next few months jobbing to wrestlers such as Faarooq, Bull Buchanan, Mark Henry and Funaki.
Awesome was released from the WWE on September 27, 2002 along with Shawn Stasiak and Horace Hogan. Awesome was quoted saying, "Being in the WWE (formerly the WWF) sucked. I hated it. You had to kiss everybody's ass... You had to be on your political toes all the time. You would not believe the backstage politics. You were getting stabbed in the back constantly. I was so happy when I was told I was gone".
Later Career (2002–2006)
From 2002 to 2006, Awesome competed on the independent circuit in the United States and Japan where he returned to All Japan Pro Wrestling as "The Gladiator" once again. On the independent circuit, he had a short stint with Major League Wrestling (MLW) where he won the MLW World Heavyweight Championship from Satoshi Kojima, only to lose it ten minutes later to Steve Corino (Kojima's employers, AJPW would not allow him to drop the title to an employee of a rival company Zero-1).
He worked for Pro Wrestling Noah from 2004 to 2005.
In February 2006, after 17 years in the ring, Awesome announced his retirement from wrestling, saying he wanted to spend more time with his family and adding that he felt underpaid for his work at the One Night Stand event and that he would only return to the ring "if the money was right".
Total Nonstop Action Wrestling (2003)
In April 2003, Awesome debuted in Total Nonstop Action Wrestling. He wrestled several matches for the promotion before leaving in May 2003. His TNA in-ring debut was on April 16, 2003 where Awesome defeated Perry Saturn by DQ when The Sandman and New Jack interfered. On April 23, Awesome teamed with Brian Lee and Slash in a losing effort against Perry Saturn, New Jack and The Sandman. On May 14, Awesome competed in his final TNA match where he lost to Mike Sanders in a Tables Match.
Return to WWE (2005)
Awesome made an appearance at WWE's (formerly the WWF) ECW One Night Stand reunion pay-per-view on June 13, 2005, defeating Masato Tanaka. The crowd greeted Awesome with jeers at the beginning of the match, and commentator Joey Styles made frequent references to Awesome's leaving of ECW for WCW, but by the end the crowd were chanting "this match rules!" and gave both men a standing ovation.
Other media
Alfonso appeared in at least four wrestling video games including ECW Hardcore Revolution, WCW Backstage Assault, Virtual Pro Wrestling 2: Ōdō Keishō, and Fire Pro Wrestling Returns. The ECW toy series manufactured by Original San Francisco Toymakers released a Mike Awesome action figure in 2000. A WCW action figure of Awesome was released by Toy Biz in 2001.
Personal life
Alfonso attended King High School in Tampa, Florida and trained at Stan's Gym, an old school muscle gym, on 56th Street. On May 11, 1991, he married his high school sweetheart Delisa Diann Bowers in Hillsborough, Florida. They had two children together; son Casey (born 1996) and daughter Carissa (born 2000). Alfonso was an avid outdoorsman and enjoyed fishing and trail bike riding with friends and his son. He enjoyed mountain biking and would ride frequently at Alafia River State Park in Florida, close to his Tampa home.
Alfonso was the cousin of Hulk Hogan's nephew Michael Bollea, who was better known for his stint in WCW under the name Horace Hogan. He is no relation of fellow ECW alumnus Bill Alfonso.
After Awesome's retirement from professional wrestling, he served as a real estate agent in New Tampa, Florida.
Death
On February 17, 2007, a group of Alfonso's friends found him dead after he had hung himself inside his Tampa home. He was 42 years old. WWE acknowledged his death on the February 20 broadcast of ECW on Sci-Fi with an "In Memory..." graphic at the opening of the program, and two days later his family received friends at Serenity Meadows Funeral Home in Riverview, Florida.
Championships and accomplishments
Extreme Championship Wrestling
ECW World Heavyweight Championship (2 times)
ECW World Tag Team Championship (1 time) – with Raven
Frontier Martial-Arts Wrestling
FMW Independent World Heavyweight Championship (1 time)
FMW World Brass Knuckles Championship (2 times)
FMW World Brass Knuckles Tag Team Championship (2 times) – with Big Titan (1), and Mr. Pogo (1)
FMW World Street Fight 6-Man Tag Team Championship (1 time) – with Mr. Gannosuke and Hisakatsu Oya
FMW Tag Team Tournament (1991) – with Mr. Pogo
FMW Brass Knuckles Tag Team Championship Tournament (1994) – with Big Titan
Grand Slam Tournament (1995)
FMW World Street Fight 6-Man Tag Team Championship Tournament (1997) – with Hisakatsu Oya and Mr. Gannosuke
Major League Wrestling
MLW World Heavyweight Championship (1 time)
Pro Wrestling Illustrated
Ranked No. 7 of the top 500 singles wrestlers in the PWI 500 in 2000
World Wrestling Federation
WWF Hardcore Championship (1 time)
Wrestling Observer Newsletter
Worst Gimmick (2000)
See also
List of premature professional wrestling deaths
References
External links
1965 births
2007 deaths
2007 suicides
American male professional wrestlers
C. Leon King High School alumni
ECW Heavyweight Champions/ECW World Heavyweight Champions
ECW World Tag Team Champions
Expatriate professional wrestlers in Japan
Sportspeople from Tampa, Florida
Professional wrestlers from Florida
Suicides by hanging in Florida
WWF/WWE Hardcore Champions
American expatriate sportspeople in Japan
| true |
[
"Run support is a baseball statistic used to assess a starting pitcher's support by the team's offense in actual runs scored. It measures how many runs were scored by his team on average when he starts. It is considered a somewhat important statistic because a team (and its pitcher) earn wins by holding its opponents to fewer runs than it scores. Since a pitcher's skill is a large factor in how many runs the opponent scores and a non-factor in how many runs his team scores, this is a measure of whether the pitcher happened to pitch on days when his team scored a lot. There are two different measures of run support. These statistics may be adjusted for park and league factors.\n\n The number of runs scored per nine innings of opponent batting during the pitchers starts.\n The number of runs per start.\n\nNotes\n\nBaseball statistics",
"The Rich List was a New Zealand television game show, which debuted on 23 June 2007 and aired on TV One. The show was hosted by Jason Gunn and produced by Imagination Television.\nThree seasons aired before it was cancelled in 2008.\n\nHow the game works\nTwo teams containing two players, who are unknown to each other, play from inside sound proof pods. Then they can discuss and deliberate over answers and tactics with their teammate, without their opponents hearing what their game strategy may be, or how many answers they actually know.\n\nThe two teams bid upwards against each other while predicting how many examples of a particular subject they will be able to list. If a team fails to list as many answers as they predicted, the other team wins the round.\n\nThe winners of the best of three lists move on to play The Rich List, a new game of list-making where increasing amounts of money are up for grabs, like this:\n\nHowever a wrong answer at any stage means all money for that rich-list is lost. Regardless of whether they win any prize money, as the reigning champions they will return to face new opponents.\n\nEpisodes\n\nControversy\nThe episode which aired on Tuesday 8 July 2008 and repeated on Boxing Day 2012 contained an error in the final Rich List which caused the winners to lose the list. The list was \"Polygons with up to 20 sides\". The list as approved by the show excluded all quadrilaterals except quadrilaterals itself, so triangles and quadrilaterals were the only 18 acceptable polygons that did not end in 'gon'.\nThe vagueness of the list as aired on TV1 should have included trapeziums, squares, and other specific polygons.\n\nExternal links\n http://tvnz.co.nz/view/page/1040251\n\n2007 New Zealand television series debuts\n2008 New Zealand television series endings\nNew Zealand game shows\nTVNZ 1 original programming\nTelevision series by ITV Studios"
] |
[
"Mike Awesome",
"Team Canada and W*ING Alliance (1993-1995)",
"how did he join Team Canada?",
"Gladiator formed the first villainous faction in FMW called Team Canada",
"How many people are on the team?",
"Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal"
] |
C_e663e88e71f04541acab03b62631f02c_1
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Is that the same team as the W*ING Alliance?
| 3 |
Is Team Canada of FMW the same team as the W*ING Alliance?
|
Mike Awesome
|
In 1993, Gladiator formed the first villainous faction in FMW called Team Canada with Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal after The Sheik and Sabu turned fan favorites and formed an alliance with Atsushi Onita. At 4th Anniversary Show, the team of Gladiator, Ricky Fuji and Big Titan defeated Katsuji Ueda, The Great Punk and Tarzan Goto in a Captain's Fall Losing Captain Leaves Town No Rope Barbed Wire Tornado Street Fight Deathmatch, which Team Canada won. The group strengthened its dominance after Mr. Pogo returned to FMW in the summer of 1993 and took over as the leader of the group. Gladiator and Titan were defeated by Sambo Asako and Mr. Gannosuke at Summer Spectacular. The team of Gladiator, Titan and Fuji gained more success by defeating Asako, Katsuji Ueda and Grigory Verichev in a street fight at Year End Spectacular. The following year, Gladiator and Titan participated in a double-elimination tournament for the newly created Brass Knuckles Tag Team Championship, in which they defeated Hideki Hosaka and Hisakatsu Oya in the quarter-final, Jinsei Shinzaki and Masaru Toi in the semi-final and Mr. Gannosuke and Tarzan Goto in the final to succeed in their block and then defeated Atsushi Onita and Katsutoshi Niiyama in the tournament final on January 18, 1994 to win the Brass Knuckles Tag Team Championship, marking Alfonso's first title in FMW. They successfully defended the title against Atsushi Onita and Sambo Asako in a street fight on March 29 and then lost the title to Mr. Pogo and Hisakatsu Oya in their second title defense on April 21. The title loss created dissension between Titan and Gladiator. At 5th Anniversary Show, Gladiator, Titan and Fuji took on Fuyuki-Gun in a match, where Gladiator and Titan had a miscommunication with each other but they still managed to win their match but Gladiator abandoned his partners after the match to quietly end Team Canada. As a result, Gladiator began feuding with Titan and defeated him in their first singles match against each other on July 31. Gladiator won a rematch at Summer Spectacular, before finally losing to Titan on September 7 to end the rivalry. In October, Gladiator joined the new W*ING Alliance with Mr. Pogo, Mitsuhiro Matsunaga, Yukihiro Kanemura, Goro Tsurumi, Horace Boulder, Hideki Hosaka and Hisakatsu Oya. The group mostly consisted of wrestlers from the former W*ING promotion, who held Atsushi Onita and FMW responsible for ending the promotion and had formed the alliance to bring the demise of FMW just like W*ING suffered its demise. On October 28, Gladiator and Pogo defeated Atsushi Onita and Mr. Gannosuke to win the vacant Brass Knuckles Tag Team Championship. They lost the tag titles to Onita and Gannosuke in a rematch on February 24, 1995. At 6th Anniversary Show, Gladiator and Horace Boulder lost to Katsutoshi Niiyama and Masato Tanaka. Later at the event, Mr. Pogo turned on W*ING Alliance by blowing a fireball on Yukihiro Kanemura after Pogo and Kanemura lost their match, which led Gladiator, Boulder and Hisakatsu Oya to follow Pogo and join Lethal Weapon. CANNOTANSWER
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In October, Gladiator joined the new W*ING Alliance
|
Michael Lee Alfonso (January 24, 1965 – February 17, 2007) was an American professional wrestler. He was best known for his appearances with the American professional wrestling promotions Extreme Championship Wrestling, World Championship Wrestling and the World Wrestling Federation/Entertainment under the ring name Mike Awesome and for his appearances in Japan with Frontier Martial-Arts Wrestling and All Japan Pro Wrestling as The Gladiator.
Alfonso achieved the biggest success of his career in FMW as The Gladiator, where he became a three-time world champion, with two reigns as Brass Knuckles Heavyweight Champion and one reign as Independent Heavyweight Champion. His second Brass Knuckles Heavyweight Championship reign from 1996–1997 was the longest reign in the title's history, lasting for 489 days. During this reign, he defeated W*ING Kanemura to unify the title with the Independent Heavyweight Championship at the 1996 Year End Spectacular. He would then tour with ECW, where he became a two-time World Heavyweight Champion. He was a member of two separate stables Team Canada in both FMW and WCW.
Professional wrestling career
Early career (1989–1990)
Alfonso was trained to wrestle by Steve Keirn, debuting on February 26, 1989 at the Eddie Graham Sports Complex in Orlando, Florida. Alfonso trained for about one year along with former professional wrestlers, Dennis Knight (Mideon, Phineas Godwin) and "Big" Al Green before making his debut. Alfonso competed in Florida Championship Wrestling, USWA, NWA and World Championship Wrestling, before making his way to FMW in Japan.
Frontier Martial-Arts Wrestling
Initial years (1990–1992)
Alfonso moved on to Japan, joining Frontier Martial-Arts Wrestling (FMW) in September 1990 and using the name The Gladiator. He was recruited by FMW as the replacement for Al Green, who was originally scheduled to compete as Gladiator but moved to WCW. Alfonso debuted in FMW as a monster villain on September 20 in a street fight with Mr. Pogo against Atsushi Onita and Jimmy Backlund, which Alfonso's team won. Gladiator was Pogo's ally who feuded with Onita and competed with Pogo against Onita and his partners. He lost to Onita in a Chain Deathmatch on October 1, after which Alfonso returned to United States. Onita was impressed by Gladiator and called him back for more tours with FMW. He returned to the company as Mr. Pogo's partner in a tag team tournament on January 6, 1991, where the duo lost their first match in the tournament against Onita and Sambo Asako. Pogo and Gladiator made to the semi-final, where they beat Grigory Verichev and Boris Gogichashivili and then defeated Onita and Asako in the final on January 15 to win the tournament. The success of the tournament led Alfonso to work full-time with FMW.
In the summer of 1991, Gladiator would form a villainous alliance with Tarzan Goto, Big Titan and Horace Boulder after Mr. Pogo's departure from FMW and resumed the feud with Atsushi Onita. On August 17, Gladiator participated in the Barbed Wire Deathmatch Tournament, in which he defeated Horace Boulder in the quarter-final and lost to Sambo Asako in the semi-final. During this time, Gladiator was inspired by Damian's lucha libre videos on travels, which led him to adopt a high-flying style despite his big size. The following month, Gladiator and Big Titan defeated Sambo Asako and Ricky Fuji in a street fight stretcher match at the 2nd Anniversary Show. This partnership led the two to form a tag team which lasted nearly three years. In the fall of the year, Gladiator and Titan participated in the World's Strongest Tag Team Tournament to determine the inaugural WWA World Martial Arts Tag Team Champions, but were eliminated from the round robin stage with total six points. Gladiator and his allies would join The Sheik and Sabu to resume the feud with Onita and his allies throughout 1992. At 3rd Anniversary Show, Big Titan, The Gladiator and Horace Boulder defeated Sambo Asako, Ricky Fuji and The Great Punk in a street fight stretcher match. Later that year, Gladiator and Boulder participated in the Street Fight Tag Team Tournament, where they qualified for the semi-final against Tarzan Goto and Big Titan, which they lost.
Team Canada and W*ING Alliance (1993–1995)
In 1993, Gladiator formed the first villainous faction in FMW called Team Canada with Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal after The Sheik and Sabu turned fan favorites and formed an alliance with Atsushi Onita. At 4th Anniversary Show, the team of Gladiator, Ricky Fuji and Big Titan defeated Katsuji Ueda, The Great Punk and Tarzan Goto in a Captain's Fall Losing Captain Leaves Town No Rope Barbed Wire Tornado Street Fight Deathmatch, which Team Canada won. The group strengthened its dominance after Mr. Pogo returned to FMW in the summer of 1993 and took over as the leader of the group. Gladiator and Titan were defeated by Sambo Asako and Mr. Gannosuke at Summer Spectacular. The team of Gladiator, Titan and Fuji gained more success by defeating Asako, Katsuji Ueda and Grigory Verichev in a street fight at Year End Spectacular.
The following year, Gladiator and Titan participated in a double-elimination tournament for the newly created Brass Knuckles Tag Team Championship, in which they defeated Hideki Hosaka and Hisakatsu Oya in the quarter-final, Jinsei Shinzaki and Masaru Toi in the semi-final and Mr. Gannosuke and Tarzan Goto in the final to succeed in their block and then defeated Atsushi Onita and Katsutoshi Niiyama in the tournament final on January 18, 1994 to win the Brass Knuckles Tag Team Championship, marking Alfonso's first title in FMW. They successfully defended the title against Atsushi Onita and Sambo Asako in a street fight on March 29 and then lost the title to Mr. Pogo and Hisakatsu Oya in their second title defense on April 21. The title loss created dissension between Titan and Gladiator. At 5th Anniversary Show, Gladiator, Titan and Fuji took on Fuyuki-Gun in a match, where Gladiator and Titan had a miscommunication with each other but they still managed to win their match but Gladiator abandoned his partners after the match to quietly end Team Canada. As a result, Gladiator began feuding with Titan and defeated him in their first singles match against each other on July 31. Gladiator won a rematch at Summer Spectacular, before finally losing to Titan on September 7 to end the rivalry.
In October, Gladiator joined the new W*ING Alliance with Mr. Pogo, Mitsuhiro Matsunaga, Yukihiro Kanemura, Goro Tsurumi, Horace Boulder, Hideki Hosaka and Hisakatsu Oya. The group mostly consisted of wrestlers from the former W*ING promotion, who held Atsushi Onita and FMW responsible for ending the promotion and had formed the alliance to bring the demise of FMW just like W*ING suffered its demise. On October 28, Gladiator and Pogo defeated Atsushi Onita and Mr. Gannosuke to win the vacant Brass Knuckles Tag Team Championship. They lost the tag titles to Onita and Gannosuke in a rematch on February 24, 1995. At 6th Anniversary Show, Gladiator and Horace Boulder lost to Katsutoshi Niiyama and Masato Tanaka. Later at the event, Mr. Pogo turned on W*ING Alliance by blowing a fireball on Yukihiro Kanemura after Pogo and Kanemura lost their match, which led Gladiator, Boulder and Hisakatsu Oya to follow Pogo and join Lethal Weapon.
Longest reigning world champion (1995–1997)
The retirement of Atsushi Onita led FMW to change its direction from deathmatch wrestling to technical wrestling style and Gladiator received a strong push as the arch rival of the company's new top star Hayabusa. He was booked to win the Grand Slam Tournament in September, in which he defeated Hayabusa in the tournament final on September 26 to win the company's top title, the vacant Brass Knuckles Heavyweight Championship and cemented his place as the company's top villain. Gladiator made his first successful title defense against Horace Boulder on October 25. He suffered a knee injury in the fall of 1995, which forced him to vacate the title on January 5, 1996. Gladiator returned from injury to challenge Super Leather for the title on March 15, but was defeated by Leather. During this time, Víctor Quinones' group Puerto Rican Army overturned W*ING and Lethal Weapon to become the top villainous group in FMW and Quinones was luring away members of both factions into his Puerto Rican Army, which led Gladiator to turn fan favorite for the first time in his career. At 7th Anniversary Show, Hisakatsu Oya, Horace Boulder and The Gladiator lost to Super Leather and The Headhunters in a match for the inaugural World Street Fight 6-Man Tag Team Championship.
On May 27, Gladiator defeated Super Leather to win his second Brass Knuckles Heavyweight Championship. Gladiator successfully defended the title against Leather in a rematch on September 1. On September 15, Gladiator and Horace Boulder turned on Ricky Fuji during a match against Hideki Hosaka, Hido and Taka Michinoku. The entire Lethal Weapon attacked Fuji and turned on him to join Terry Funk's new group Funk Masters of Wrestling, which led Gladiator to turn into a villain again. On October 12, Gladiator attacked W*ING Kanemura after Kanemura successfully defended the Independent Heavyweight Championship against Hisakatsu Oya and Gladiator challenged Kanemura to a title unification match for both Brass Knuckles Heavyweight Championship and the Independent Heavyweight Championship at Year End Spectacular, which Gladiator won and unified both titles to become the first-ever FMW Double Champion. Gladiator successfully defended his Double Championship against Masato Tanaka on February 18, 1997. Gladiator would then resume his feud with the returning Atsushi Onita as the team of Gladiator, Terry Funk and Cactus Jack was defeated by Atsushi Onita, Masato Tanaka and W*ING Kanemura at 8th Anniversary Show on April 29. The following day, on April 30, Gladiator surpassed Atsushi Onita's fourth reign of 337 days to become the longest reigning Brass Knuckles Heavyweight Champion by having reigned for 338 days at that point.
On August 5, Hisakatsu Oya, Mr. Gannosuke and The Gladiator defeated Fuyuki-Gun at a Fuyuki Army show to win the World Street Fight 6-Man Tag Team Championship. They lost the title to the team of Hayabusa, Koji Nakagawa and Masato Tanaka on August 31. At Kawasaki Legend: Fall Spectacular, Gladiator lost the Double Championship to Masato Tanaka, thus ending his Brass Knuckles Heavyweight Championship reign at 489 days and his Independent Heavyweight Championship reign at 291 days, making him the longest reigning Brass Knuckles Heavyweight Champion and the longest reigning Independent Heavyweight Champion.
ZEN and departure (1997–1998)
Following Terry Funk's departure from FMW, Funk Masters (FMW) of Wrestling began to cripple as Atsushi Onita denounced himself as a FMW wrestler and formed ZEN on September 30, 1997 to feud with FMW. On October 21, Super Leather and The Gladiator lost a match to their former teammates Hisakatsu Oya and Mr. Gannosuke, after which Gladiator attacked Leather and officially ended Funk Masters of Wrestling. Later that night, Gladiator attacked Hayabusa after ZEN members defeated Hayabusa's team in the main event and then Gladiator raised the flag of ZEN and joined ZEN, which marked the first time in his career that he had become Atsushi Onita's ally after having feuded with him for the past seven years. Gladiator had lost his significance as a main event competitor after losing the Double Championship despite being the longest reigning champion and became a mid-card member of ZEN. The group turned fan favorites in the fall of 1997 when three of its members Mr. Gannosuke, Yukihiro Kanemura and Hido turned on Atsushi Onita and left the group and they would form Team No Respect in 1998.
In March, Gladiator participated in a tournament to determine the #1 contender for the Double Championship at 9th Anniversary Show. He defeated Hisakatsu Oya in the quarter-final and Yukihiro Kanemura in the semi-final to become the runner-up of the tournament as he lost to Hayabusa in the final. At FMW's first pay-per-view event FMW 9th Anniversary Show, Gladiator teamed with ZEN teammate Tetsuhiro Kuroda to take on TNR members Super Leather and Horace Boulder in a losing effort. Later at the event, Atsushi Onita lost a match to TNR member Kodo Fuyuki, which forced Onita to end ZEN. Gladiator became a free agent after ZEN's dissolution on May 5. Gladiator's last pay-per-view appearance in FMW was at the Welcome to the Darkside pay-per-view on August 22, where he defeated Naohiko Yamazaki, Yoshinori Sasaki and Mr. Pogo #2 in a gauntlet match. On August 26, Gladiator wrestled his last FMW match, in which he defeated longtime rival Super Leather. Alfonso injured his knee during the match and went on a hiatus, during which he returned to United States and toured with Extreme Championship Wrestling (ECW) for the rest of the year. He left the company due to disagreement over Kodo Fuyuki's style of booking.
All Japan Pro Wrestling (1998–1999)
Alfonso wrestled as The Gladiator for a brief period in All Japan Pro Wrestling in 1998 and 1999.
Eastern/Extreme Championship Wrestling (1993-1994, 1997, 1998, 1999–2000)
In 1993, Alfonso appeared in NWA Eastern Championship Wrestling (ECW) for a short period (as "Awesome" Mike Awesome), he was convinced to do so by Sabu, whom he befriended during their time in Japan. After Sabu started working for ECW, he returned to Japan and told Michael about the promotion and how he should work there. Although he was initially hesitant, citing a lack of interest, Sabu managed to talk Alfonso into it, who used his frequent-flier miles to go to Philadelphia and wrestle a match for ECW.
On February 5, 1994 at ECW's event, The Night the Line Was Crossed, Awesome nearly injured wrestler, J.T. Smith when he performed a high-risk dive to the outside of the ring. Smith's back was folded backwards against the guard rail during the impact. This spot appeared in many ECW highlight reels including the intro to a variety of their television programs for years to come. (according to ECW announcer Joey Styles his own reaction to the spot inspired his "Oh my God" catchphrase).
Awesome returned to ECW in January 1997 at House Party, defeating Balls Mahoney. At Crossing the Line Again the following month, he lost to Louie Spicolli, departing ECW once more thereafter.
In January 1998, Awesome began appearing for ECW again and continued his feud with Masato Tanaka in the United States. Awesome began in ECW by losing to Tanaka on an episode ECW's weekly Hardcore TV. However, following the match, he delivered an Awesome Bomb to Tanaka over the top rope through a table set up on the outside. Awesome lost to Tanaka again at the August Heat Wave pay-per-view event. In September 1998 at UltraClash, Awesome tore his anterior cruciate ligament in a bout with Balls Mahoney; he did not wrestle again until September 1999.
Almost immediately upon arriving in ECW for his third stint in September 1999, he shocked the wrestling world by winning the ECW World Heavyweight Championship at Anarchy Rulz by defeating the reigning champion Taz and nemesis Masato Tanaka in a three-way dance, which was signed on the spot. Awesome continued to be a major factor in ECW early in 2000, including teaming with Raven to beat Tanaka and Tommy Dreamer for the ECW World Tag Team Championship. He gained a new manager, Judge Jeff Jones, who managed Awesome to the top of winning the ECW World Heavyweight Championship twice in 1999.
World Championship Wrestling (2000–2001)
On April 10, 2000, Awesome made a surprise appearance on WCW Monday Nitro—aiding The New Blood by attacking Kevin Nash—while still reigning as ECW World Heavyweight Champion. Awesome's friend Lance Storm has said that he had refused to sign a new contract with ECW until Paul Heyman paid him overdue wages.
Due to concerns over legal issues WCW refrained from having Awesome appear on their television shows with the ECW belt. Eventually, a compromise was reached. Awesome (a WCW employee and ECW champion) appeared a few days later at an ECW event in Indianapolis, Indiana, accompanied by WCW's head of security, where he lost the title to Tazz (a World Wrestling Federation employee), who lost it a week later to Tommy Dreamer (a full-time ECW wrestler) (who incidentally lost it approximately 20 minutes later to Justin Credible). In a shoot interview released by Highspots in 2005, Awesome expressed that he would have rather faced off with his former ECW and WWE colleague Rhyno and suggested that they could have put on a more entertaining match regardless of the circumstances and the manner in which he had left ECW.
Now with WCW, Awesome continued to be a major factor with the New Blood for the next month, teaming with Billy Kidman occasionally to aid him in his feud with Hulk Hogan. Awesome also engaged in an on-and-off feud with Kevin Nash, as well as feuding with Diamond Dallas Page and Kanyon. In May 2000, Awesome threw Kanyon off the top of the first level of a triple cage onto the entrance ramp, which started his "Career Killer" gimmick.
After Bash at the Beach in July 2000, his gimmick was tweaked, with him becoming infatuated with heavyset women and calling himself "The Fat Chick Thriller", and feuded with Scott Steiner and Lance Storm for the WCW United States Championship.
On the September 6, 2000 edition of Thunder, Awesome's gimmick was changed to "That '70s Guy" (a reference to the TV series That '70s Show), for which he dressed in 1970s-inspired attire and hosted the "Lava Lamp Lounge" interview segment. He was additionally given a bus that resembled the one featured on The Partridge Family to drive into arenas as part of his entrance. During this time, he had a feud with Vampiro, which resulted in brawls between Awesome and Vampiro's allies, the rap duo Insane Clown Posse (Violent J and Shaggy 2 Dope). Awesome battled both ICP members in a handicap match on an episode of Nitro, during which he hit Shaggy with a powerbomb on the roof of the bus that caused Shaggy to fall to the concrete floor below.
On the January 3, 2001 edition of Thunder, Awesome dropped the 1970s gimmick in favor of a "Canadian Career Killer" gimmick and joined WCW's Team Canada stable with Lance Storm and Elix Skipper. A feud with The Filthy Animals led to Awesome challenging Billy Kidman to a Hair-vs-Hair match, on January 15, however before the bout could take place, Team Canada attacked Kidman backstage, leaving him unable to compete. Kidman's bald stablemate Konnan replaced him and got the win, giving the Animals the right to cut off Awesome's longtime mullet. Awesome then faded into the background, mostly helping Storm in his battles against Ernest "The Cat" Miller. On the final Nitro on March 26, 2001 Awesome and Storm were defeated by Chuck Palumbo and Sean O'Haire in a WCW World Tag Team Championship match.
In an shoot interview released by Highspots in 2003, Awesome conspired that the infamous incident between Vince Russo and Hulk Hogan at Bash at the Beach 2000 may have been one of the underlying reasons as to why he was plagued by a string of unfavorable gimmicks. As a cousin of Michael Bollea (Horace Hogan, who also left WCW following the incident), Awesome suggested that Russo may have thought that he was just "too close of kin" to Hulk Hogan and decided to take it out on him.
World Wrestling Federation/Entertainment (1996, 2001–2002)
He first made a appearance in WWF as a jobber on December 12, 1996 losing to Justin Credible who was known then as Aldo Montoya in a dark match for WWF Superstars of Wrestling.
After the March 2001 purchase of WCW by the World Wrestling Federation (WWF), Awesome became part of The Invasion storyline in the WWF. His WWF debut came on the June 25, 2001 episode of Raw during a match which saw Test defending his Hardcore Championship against Rhyno. After Rhyno Gored Test against a wall and pinned him he stood celebrating his new title only to be attacked by Awesome wielding a metal pipe. He then powerbombed Rhyno onto a ladder and pinned him, becoming champion himself due to the 24/7 rule. Awesome was the first "Invader" to gain gold in the WWF, stealing away with the Hardcore belt before any WWF wrestlers could catch him. Awesome's hardcore reign came to an end a few weeks later on the July 12 edition of SmackDown! when he was pinned by Jeff Hardy, thanks to distraction from Edge.
Awesome defeated Edge on the July 16 episode of Raw.
The feud continued when Edge introduced his tag team partner Christian into the rivalry. Awesome and Lance Storm were defeated by Edge and Christian at Invasion on July 22, Awesome's first WWF pay-per-view match. From here Awesome's push diminished and he began appearing mostly on WWF's b-shows, before being sidelined with an injury in November 2001.
Awesome returned to the SmackDown! brand on the July 27, 2002 edition of Velocity where he was defeated by Tajiri. Awesome was a mainstay on Velocity, SmackDown!'s tertiary show, for the next few months jobbing to wrestlers such as Faarooq, Bull Buchanan, Mark Henry and Funaki.
Awesome was released from the WWE on September 27, 2002 along with Shawn Stasiak and Horace Hogan. Awesome was quoted saying, "Being in the WWE (formerly the WWF) sucked. I hated it. You had to kiss everybody's ass... You had to be on your political toes all the time. You would not believe the backstage politics. You were getting stabbed in the back constantly. I was so happy when I was told I was gone".
Later Career (2002–2006)
From 2002 to 2006, Awesome competed on the independent circuit in the United States and Japan where he returned to All Japan Pro Wrestling as "The Gladiator" once again. On the independent circuit, he had a short stint with Major League Wrestling (MLW) where he won the MLW World Heavyweight Championship from Satoshi Kojima, only to lose it ten minutes later to Steve Corino (Kojima's employers, AJPW would not allow him to drop the title to an employee of a rival company Zero-1).
He worked for Pro Wrestling Noah from 2004 to 2005.
In February 2006, after 17 years in the ring, Awesome announced his retirement from wrestling, saying he wanted to spend more time with his family and adding that he felt underpaid for his work at the One Night Stand event and that he would only return to the ring "if the money was right".
Total Nonstop Action Wrestling (2003)
In April 2003, Awesome debuted in Total Nonstop Action Wrestling. He wrestled several matches for the promotion before leaving in May 2003. His TNA in-ring debut was on April 16, 2003 where Awesome defeated Perry Saturn by DQ when The Sandman and New Jack interfered. On April 23, Awesome teamed with Brian Lee and Slash in a losing effort against Perry Saturn, New Jack and The Sandman. On May 14, Awesome competed in his final TNA match where he lost to Mike Sanders in a Tables Match.
Return to WWE (2005)
Awesome made an appearance at WWE's (formerly the WWF) ECW One Night Stand reunion pay-per-view on June 13, 2005, defeating Masato Tanaka. The crowd greeted Awesome with jeers at the beginning of the match, and commentator Joey Styles made frequent references to Awesome's leaving of ECW for WCW, but by the end the crowd were chanting "this match rules!" and gave both men a standing ovation.
Other media
Alfonso appeared in at least four wrestling video games including ECW Hardcore Revolution, WCW Backstage Assault, Virtual Pro Wrestling 2: Ōdō Keishō, and Fire Pro Wrestling Returns. The ECW toy series manufactured by Original San Francisco Toymakers released a Mike Awesome action figure in 2000. A WCW action figure of Awesome was released by Toy Biz in 2001.
Personal life
Alfonso attended King High School in Tampa, Florida and trained at Stan's Gym, an old school muscle gym, on 56th Street. On May 11, 1991, he married his high school sweetheart Delisa Diann Bowers in Hillsborough, Florida. They had two children together; son Casey (born 1996) and daughter Carissa (born 2000). Alfonso was an avid outdoorsman and enjoyed fishing and trail bike riding with friends and his son. He enjoyed mountain biking and would ride frequently at Alafia River State Park in Florida, close to his Tampa home.
Alfonso was the cousin of Hulk Hogan's nephew Michael Bollea, who was better known for his stint in WCW under the name Horace Hogan. He is no relation of fellow ECW alumnus Bill Alfonso.
After Awesome's retirement from professional wrestling, he served as a real estate agent in New Tampa, Florida.
Death
On February 17, 2007, a group of Alfonso's friends found him dead after he had hung himself inside his Tampa home. He was 42 years old. WWE acknowledged his death on the February 20 broadcast of ECW on Sci-Fi with an "In Memory..." graphic at the opening of the program, and two days later his family received friends at Serenity Meadows Funeral Home in Riverview, Florida.
Championships and accomplishments
Extreme Championship Wrestling
ECW World Heavyweight Championship (2 times)
ECW World Tag Team Championship (1 time) – with Raven
Frontier Martial-Arts Wrestling
FMW Independent World Heavyweight Championship (1 time)
FMW World Brass Knuckles Championship (2 times)
FMW World Brass Knuckles Tag Team Championship (2 times) – with Big Titan (1), and Mr. Pogo (1)
FMW World Street Fight 6-Man Tag Team Championship (1 time) – with Mr. Gannosuke and Hisakatsu Oya
FMW Tag Team Tournament (1991) – with Mr. Pogo
FMW Brass Knuckles Tag Team Championship Tournament (1994) – with Big Titan
Grand Slam Tournament (1995)
FMW World Street Fight 6-Man Tag Team Championship Tournament (1997) – with Hisakatsu Oya and Mr. Gannosuke
Major League Wrestling
MLW World Heavyweight Championship (1 time)
Pro Wrestling Illustrated
Ranked No. 7 of the top 500 singles wrestlers in the PWI 500 in 2000
World Wrestling Federation
WWF Hardcore Championship (1 time)
Wrestling Observer Newsletter
Worst Gimmick (2000)
See also
List of premature professional wrestling deaths
References
External links
1965 births
2007 deaths
2007 suicides
American male professional wrestlers
C. Leon King High School alumni
ECW Heavyweight Champions/ECW World Heavyweight Champions
ECW World Tag Team Champions
Expatriate professional wrestlers in Japan
Sportspeople from Tampa, Florida
Professional wrestlers from Florida
Suicides by hanging in Florida
WWF/WWE Hardcore Champions
American expatriate sportspeople in Japan
| true |
[
"The W*ING Alliance was a Japanese professional wrestling group that existed in Frontier Martial-Arts Wrestling (FMW) between 1994 and 1997. The group consisted of wrestlers from the W*ING promotion, which ended in March 1994 due to FMW hiring the top tier talent of W*ING and the W*ING alumni wanted to avenge the demise of the company from FMW and the company's owner Atsushi Onita in storyline.\n\nBackground\nKazuyoshi Osako and Kiyoshi Ibaragi were former FMW employees who formed their own hardcore wrestling promotion W*ING to compete with FMW but the company was unable to compete with FMW after the company's top fan favorite Mitsuhiro Matsunaga and top villain Mr. Pogo both defected to FMW in 1993. Another W*ING wrestler Hideki Hosaka defected to FMW as well and W*ING ultimately met its demise on March 21, 1994. The group consisted of former wrestlers from the W*ING promotion who joined FMW during 1993-1994 and held Atsushi Onita and FMW responsible for the company's end and their aim was to takeover and end FMW.\n\nHistory\n\nFormation\n\nMr. Pogo and Mitsuhiro Matsunaga had been arch rivals in W*ING and they resumed their rivalry in FMW, which culminated in a street fight at Summer Spectacular on August 28, 1994, which Pogo won. Matsunaga was being groomed to succeed Atsushi Onita as the promotion's ace. On September 7, Onita defeated Pogo to win the Brass Knuckles Heavyweight Championship and Yukihiro Kanemura, a former W*ING wrestler made his FMW debut by attacking Onita after the match. Kanemura and Pogo, both former W*ING wrestlers formed an alliance and convinced Matsunaga to join them to form an alliance of W*ING alumni but Matsunaga did not make the decision. Matsunaga visited Kanemura at hospital after Kanemura was getting treated for suffering some burns during a match in W*ING and Onita misunderstood it and accused Matsunaga of betraying FMW. An enraged Matsunaga turned villain and joined Kanemura, Pogo and Hideki Hosaka to form the W*ING Alliance to avenge the demise of W*ING from Onita and FMW.\n\nOn September 25, Kanemura and Matsunaga took on Tarzan Goto and Hisakatsu Oya, which ended in a no contest after Oya turned on Goto and triple teamed him with Kanemura and Matsunaga to join W*ING Alliance. The next match was an exploding barbed wire dynamite pool elimination match in which Mr. Pogo and Hideki Hosaka teamed with The Gladiator against Onita, Mr. Gannosuke and Katsutoshi Niiyama. Pogo's team lost the match. The W*ING faction would strengthen with the addition of Gladiator, Goro Tsurumi and Hido.\n\nChampionship success\nThe Brass Knuckles Tag Team Championship had been vacated after Onita and Matsunaga split from each other due to Matsunaga joining W*ING. W*ING started gaining championship success after Mr. Pogo and The Gladiator defeated Onita and Mr. Gannosuke in a falls count anywhere match to win the vacant Brass Knuckles Tag Team Championship on October 28. W*ING would wrestle Onita and his FMW wrestlers in several matches throughout the fall of 1994. On January 21, 1995, Pogo competed under his alter ego Pogo Daiyo and defeated Onita to win the Brass Knuckles Heavyweight Championship to reach to the top of FMW's championship hierarchy. On February 6, Hideki Hosaka defeated Ricky Fuji to win the Independent World Junior Heavyweight Championship, resulting in W*ING holding all of FMW's men's titles. The no rope barbed wire deathmatches between FMW and W*ING continued to headline FMW events into earlier part of 1995 to build momentum into Onita's retirement match at 6th Anniversary Show. During this time, Hisakatsu Oya left W*ING to form Lethal Weapon with Tarzan Goto and Ricky Fuji, thus beginning a feud between W*ING and Lethal Weapon. The formation of this faction would slow down W*ING's momentum as Onita chose Goto to succeed him as the promotion's ace and Goto replaced Pogo's spot as the top villain. On February 24, W*ING members Yukihiro Kanemura, Mitsuhiro Matsunaga and Hideki Hosaka took on the new Lethal Weapon group in a losing effort. Later that night, Pogo and Gladiator lost their tag team titles to Onita and Mr. Gannosuke but Pogo regained it with Yukihiro Kanemura on March 7.\n\nOn March 15, Onita and Pogo competed in their alter egos \"The Great Nita\" and \"Pogo Daiyo\" respectively, with Nita coming out victorious. However, on March 30, Pogo Daiyo defeated Nita in a lumberjack match. Hideki Hosaka lost the Independent World Junior Heavyweight Championship to Koji Nakagawa on the same event. Horace Boulder was brought in as the newest member of W*ING in April. Tarzan Goto quit FMW in April due to refusing to job to Onita in Onita's retirement match at 6th Anniversary Show and Onita chose Pogo for the spot but Pogo refused it because he was not approached first. As a result, Pogo dropped the Brass Knuckles Heavyweight Championship to Onita on May 4, just one day shy of the 6th Anniversary Show, so Onita could defend the title against his new chosen successor Hayabusa in his retirement match. At 6th Anniversary Show, Horace Boulder and Gladiator lost to Katsutoshi Niiyama and Masato Tanaka in a tag team match and Mitsuhiro Matsunaga, Hideki Hosaka and Hido lost a six-man tag team match to Kishin Kawabata, Takashi Ishikawa and Apollo Sagawa. Pogo and Kanemura lost the Brass Knuckles Tag Team Championship to Lethal Weapon members Love Guns (Hisakatsu Oya and Ricky Fuji) after a miscommunication took place between Pogo and Kanemura. After the match, Pogo blew fire on Kanemura to quit W*ING and joined Lethal Weapon. Gladiator and Horace Boulder followed him to Lethal Weapon as well. This positioned Lethal Weapon as the top villainous group in FMW and W*ING began losing its significance.\n\nEmergence of new factions\nFollowing Pogo's departure, Kanemura began rising as the focal point of the W*ING group and he changed his ring name to W*ING Kanemura out of loyalty to the group during a match against Masato Tanaka on May 17. On May 28, Matsunaga and Kanemura defeated their former W*ING allies Pogo and Horace Boulder in a street fight. Kanemura and Matsunaga both lost to Pogo in a street fight and a barbed wire deathmatch respectively. On June 27, Super Leather debuted in FMW to replace the injured Kanemura as the newest member of W*ING by teaming with Hido and Mitsuhiro Matsunaga to defeat Horace Boulder, Mr. Pogo and The Gladiator in a street fight. Kanemura, Hideki Hosaka and Hido represented W*ING in the Young Lions Tournament, a round robin tournament consisting of newcomers of FMW, while Masato Tanaka, Koji Nakagawa and Tetsuhiro Kuroda being the other three participants. During the tournament, the W*ING members competed against each other as Hosaka defeated Kanemura on July 18 and Hido on July 19 and Kanemura defeated Hido on July 22. Kanemura reached the finals of the tournament against Tanaka on July 30, which he lost but both men qualified for the Grand Slam Tournament for the vacant Brass Knuckles Heavyweight Championship. Kanemura and Matsunaga were both entered into the Grand Slam Tournament and squared off against each other on August 31, where Matsunaga emerged victorious.\n\nMatsunaga turned into a fan favorite after showing respect to his opponent Hayabusa by shaking hands with him after Hayabusa defeated Matsunaga in a Grand Slam tournament match on September 24. This led to FMW and W*ING forming a brief alliance as Matsunaga teamed with Hayabusa to take on his W*ING Alliance teammate W*ING Kanemura and FMW's Masato Tanaka in a tag team match on October 28, which Hayabusa and Matsunaga won. Super Leather and Hido questioned Kanemura and Matsunaga for turning on W*ING by siding with FMW. Hido joined Lethal Weapon but it was short lived as Matsunaga turned on Hayabusa during a tag team match against Mr. Pogo and Super Leather on November 20 while Hido and Leather turned on Lethal Weapon to reform W*ING and feud with FMW and Lethal Weapon. On January 10, 1996, Matsunaga, Kanemura and Hido defeated Hayabusa, Masato Tanaka and Koji Nakagawa in a barbed wire spider net deathmatch. Hayabusa was injured after the match and Tanaka teamed with Tetsuhiro Kuroda and Ricky Fuji of Lethal Weapon to defeat Matsunaga, Kanemura and Hido in the first WarGames match in FMW on February 23. The event also saw Super Leather win the Brass Knuckles Heavyweight Championship from Hisakatsu Oya, who substituted for the champion The Gladiator. After the WarGames match, Puerto Rican Army debuted in FMW and attacked FMW and W*ING and the two sides joined forces to battle the new group.\n\nAlliance with FMW\nIn late 1995, Jason the Terrible joined W*ING Alliance and he formed a tag team with Super Leather called \"The Faces of Dead\" and they defeated Hisakatsu Oya and Horace Boulder to win the Brass Knuckles Tag Team Championship on January 5, 1996. Super Leather defeated Gladiator in a rematch to retain the Brass Knuckles Heavyweight Championship on March 15. W*ING began a slow turn as fan favorites by joining FMW against the new Puerto Rican Army. On March 30, Faces of Dead lost the Brass Knuckles Tag Team Championship to Puerto Rican Army members The Headhunters after Super Leather turned on Jason the Terrible and joined Puerto Rican Army. W*ING competed in three matches at 7th Anniversary Show as Jason the Terrible defeated Nanjyo Hayato and the team of Mitsuhiro Matsunaga, Hido and Hideki Hosaka defeated Puerto Rican Army members Toryu, Miguel Perez and Shoji Nakamaki. W*ING Kanemura challenged Cactus Jack in a high-profile Caribbean barbed wire barricade spider net broken glass death match for Jack's King of the Deathmatch title which he had won in IWA Japan. Jack retained his title.\n\nAfter the event, Mitsuhiro Matsunaga and Jason the Terrible left FMW as Matsunaga joined Big Japan Pro Wrestling, reducing W*ING to only three members W*ING Kanemura, Hideki Hosaka and Hido. On June 12, W*ING Alliance held their first event under the W*ING banner titled W*ING Take Off 2nd, which was headlined by a street fight between Hido, Hideki Hosaka and Kanemura against Masato Tanaka, Koji Nakagawa and Tetsuhiro Kuroda in a losing effort. However, the W*ING Alliance received a positive reaction from the audiences of the old W*ING promotion. W*ING Alliance held more shows under the W*ING banner for the next few months. Kanemura and Hido participated in an eight-man single elimination tournament was held for the new Independent Heavyweight Championship. Hido was eliminated after losing to Super Leather in the quarter-final while Kanemura defeated Koji Nakagawa, Super Leather and Masato Tanaka at Summer Spectacular to win the tournament and become the first Independent Heavyweight Champion. Hido also succeeded at the event by winning a battle royal. Kanemura's Independent Heavyweight Championship win established him as the frontman and leader of the W*ING Alliance.\n\nKanemura was injured in an exploding barbed wire double hell deathmatch between W*ING Alliance and the team of Masato Tanaka, Koji Nakagawa and Tetsuhiro Kuroda on September 1, which put him out of action. On September 12, W*ING promoted their second show under the W*ING banner, which was headlined by Hido against FMW's ace Hayabusa in a losing effort. Dragon Winger joined W*ING in October and Kanemura returned to the company as well. During this time, the Puerto Rican Army had become the Funk Masters of Wrestling and Kanemura faced Funk Masters of Wrestling member The Gladiator in a title unification match for Kanemura's Independent Heavyweight Championship and Gladiator's Brass Knuckles Heavyweight Championship to determine the unified Double Champion at Year End Spectacular. Kanemura lost the match.\n\nDissolution\nIn the fall of 1996, Atsushi Onita returned to FMW to fight Funk Masters of Wrestling and W*ING formed an alliance with FMW by siding with Onita. On April 25, 1997, Kanemura and Hido defeated The Headhunters to win the Brass Knuckles Tag Team Championship, ending Headhunters' year-long reign. At 8th Anniversary Show, Hido and Dragon Winger were defeated by Ricky Fuji and Ricky Morton in the opening match while Kanemura teamed with Atsushi Onita and Masato Tanaka to defeat Terry Funk, Cactus Jack and The Gladiator from Funk Masters of Wrestling. On May 25, Kanemura and Hido teamed with Onita to defeat Masato Tanaka, Koji Nakagawa and Tetsuhiro Kuroda in a barbed wire deathmatch after Kanemura pinned Tanaka and the match stipulated that the winning person would face Onita at Fall Spectacular which would take place on September 28 at the Kawasaki Stadium. This earned Kanemura, a match against Onita at the event. W*ING promoted its final show on July 13, which was headlined by a barbed wire double hell deathmatch between Kanemura, Hido and Hosaka and the team of Tanaka, Nakagawa and Kuroda, which the FMW team won.\n\nKanemura and Hido lost the Brass Knuckles Tag Team Championship to Funk Masters of Wrestling's Mr. Gannosuke and Hisakatsu Oya on August 21. Kanemura and Onita headlined the Fall Spectacular event on September 28 at the Kawasaki Stadium by competing in a no rope barbed wire electrified dynamite land mine time bomb death match, which stipulated that Onita would retire if he lost and W*ING Alliance would be forced to disband if Kanemura lost. Onita defeated Kanemura to end the rivalry between the two that had been stemming from 1994 and W*ING Alliance disbanded as a result.\n\nChampionships and accomplishments\nFMW Brass Knuckles Heavyweight Championship (2 times) - Mr. Pogo (1), Super Leather (1)\nFMW Brass Knuckles Tag Team Championship (4 times) - Mr. Pogo and The Gladiator (1), Mr. Pogo and Yukihiro Kanemura (1), Super Leather and Jason the Terrible (1), W*ING Kanemura and Hido (1)\nFMW Independent Heavyweight Championship (1 time) - W*ING Kanemura (1, inaugural)\nFMW Independent World Junior Heavyweight Championship (1 time) - Hideki Hosaka\nFMW Independent Heavyweight Championship Tournament (1996)\n\nReferences\n\nFrontier Martial-Arts Wrestling teams and stables",
"ING Bank Śląski SA (eng. ING Silesian Bank) (ING BSK) is a Polish bank based in Katowice. The majority owner is ING Group.\n\nHistory\nThe bank was established as Bank Śląski in 1988 as a result of the separation from the National Bank of Poland. In 1991, it was transformed from a state bank into a limited company and in 1994 it debuted on the Warsaw Stock Exchange. Since 1996, the bank's majority shareholder is the Dutch ING Group. In 2001 Bank Śląski merged with ING Bank N.V. Branch in Warsaw. Since then, the bank is operating under the name of \"ING Bank Śląski\". On April 4, 2016 the Supervisory Board appointed Brunon Bartkiewicz as the President of the Management Board.\n\nName\nThe name 'Bank Śląski' is Polish for 'Silesian Bank'.\n\nShareholders \n ING Bank N.V. – 75%\n Aviva Otwarty Fundusz Emerytalny Aviva BZ WBK – 6,05%\n Stock investors – 18,95%\n\nING Group \n ING ABL Polska SA\n ING Commercial Finance Polska SA \n ING Lease (Polska) Sp. z o.o.\n ING Usługi dla Biznesu SA\n Nowe Usługi SA\n Solver Sp. z o.o.\n\nReferences\n\nExternal links\n\nBanks of Poland\nCompanies based in Katowice\nCompanies listed on the Warsaw Stock Exchange\nING Group\n1988 establishments in Poland"
] |
[
"Mike Awesome",
"Team Canada and W*ING Alliance (1993-1995)",
"how did he join Team Canada?",
"Gladiator formed the first villainous faction in FMW called Team Canada",
"How many people are on the team?",
"Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal",
"Is that the same team as the W*ING Alliance?",
"In October, Gladiator joined the new W*ING Alliance"
] |
C_e663e88e71f04541acab03b62631f02c_1
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Was Team Canada or W*ING more successful?
| 4 |
Was Team Canada or W*ING more successful in FMW?
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Mike Awesome
|
In 1993, Gladiator formed the first villainous faction in FMW called Team Canada with Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal after The Sheik and Sabu turned fan favorites and formed an alliance with Atsushi Onita. At 4th Anniversary Show, the team of Gladiator, Ricky Fuji and Big Titan defeated Katsuji Ueda, The Great Punk and Tarzan Goto in a Captain's Fall Losing Captain Leaves Town No Rope Barbed Wire Tornado Street Fight Deathmatch, which Team Canada won. The group strengthened its dominance after Mr. Pogo returned to FMW in the summer of 1993 and took over as the leader of the group. Gladiator and Titan were defeated by Sambo Asako and Mr. Gannosuke at Summer Spectacular. The team of Gladiator, Titan and Fuji gained more success by defeating Asako, Katsuji Ueda and Grigory Verichev in a street fight at Year End Spectacular. The following year, Gladiator and Titan participated in a double-elimination tournament for the newly created Brass Knuckles Tag Team Championship, in which they defeated Hideki Hosaka and Hisakatsu Oya in the quarter-final, Jinsei Shinzaki and Masaru Toi in the semi-final and Mr. Gannosuke and Tarzan Goto in the final to succeed in their block and then defeated Atsushi Onita and Katsutoshi Niiyama in the tournament final on January 18, 1994 to win the Brass Knuckles Tag Team Championship, marking Alfonso's first title in FMW. They successfully defended the title against Atsushi Onita and Sambo Asako in a street fight on March 29 and then lost the title to Mr. Pogo and Hisakatsu Oya in their second title defense on April 21. The title loss created dissension between Titan and Gladiator. At 5th Anniversary Show, Gladiator, Titan and Fuji took on Fuyuki-Gun in a match, where Gladiator and Titan had a miscommunication with each other but they still managed to win their match but Gladiator abandoned his partners after the match to quietly end Team Canada. As a result, Gladiator began feuding with Titan and defeated him in their first singles match against each other on July 31. Gladiator won a rematch at Summer Spectacular, before finally losing to Titan on September 7 to end the rivalry. In October, Gladiator joined the new W*ING Alliance with Mr. Pogo, Mitsuhiro Matsunaga, Yukihiro Kanemura, Goro Tsurumi, Horace Boulder, Hideki Hosaka and Hisakatsu Oya. The group mostly consisted of wrestlers from the former W*ING promotion, who held Atsushi Onita and FMW responsible for ending the promotion and had formed the alliance to bring the demise of FMW just like W*ING suffered its demise. On October 28, Gladiator and Pogo defeated Atsushi Onita and Mr. Gannosuke to win the vacant Brass Knuckles Tag Team Championship. They lost the tag titles to Onita and Gannosuke in a rematch on February 24, 1995. At 6th Anniversary Show, Gladiator and Horace Boulder lost to Katsutoshi Niiyama and Masato Tanaka. Later at the event, Mr. Pogo turned on W*ING Alliance by blowing a fireball on Yukihiro Kanemura after Pogo and Kanemura lost their match, which led Gladiator, Boulder and Hisakatsu Oya to follow Pogo and join Lethal Weapon. CANNOTANSWER
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The team of Gladiator, Titan and Fuji gained more success
|
Michael Lee Alfonso (January 24, 1965 – February 17, 2007) was an American professional wrestler. He was best known for his appearances with the American professional wrestling promotions Extreme Championship Wrestling, World Championship Wrestling and the World Wrestling Federation/Entertainment under the ring name Mike Awesome and for his appearances in Japan with Frontier Martial-Arts Wrestling and All Japan Pro Wrestling as The Gladiator.
Alfonso achieved the biggest success of his career in FMW as The Gladiator, where he became a three-time world champion, with two reigns as Brass Knuckles Heavyweight Champion and one reign as Independent Heavyweight Champion. His second Brass Knuckles Heavyweight Championship reign from 1996–1997 was the longest reign in the title's history, lasting for 489 days. During this reign, he defeated W*ING Kanemura to unify the title with the Independent Heavyweight Championship at the 1996 Year End Spectacular. He would then tour with ECW, where he became a two-time World Heavyweight Champion. He was a member of two separate stables Team Canada in both FMW and WCW.
Professional wrestling career
Early career (1989–1990)
Alfonso was trained to wrestle by Steve Keirn, debuting on February 26, 1989 at the Eddie Graham Sports Complex in Orlando, Florida. Alfonso trained for about one year along with former professional wrestlers, Dennis Knight (Mideon, Phineas Godwin) and "Big" Al Green before making his debut. Alfonso competed in Florida Championship Wrestling, USWA, NWA and World Championship Wrestling, before making his way to FMW in Japan.
Frontier Martial-Arts Wrestling
Initial years (1990–1992)
Alfonso moved on to Japan, joining Frontier Martial-Arts Wrestling (FMW) in September 1990 and using the name The Gladiator. He was recruited by FMW as the replacement for Al Green, who was originally scheduled to compete as Gladiator but moved to WCW. Alfonso debuted in FMW as a monster villain on September 20 in a street fight with Mr. Pogo against Atsushi Onita and Jimmy Backlund, which Alfonso's team won. Gladiator was Pogo's ally who feuded with Onita and competed with Pogo against Onita and his partners. He lost to Onita in a Chain Deathmatch on October 1, after which Alfonso returned to United States. Onita was impressed by Gladiator and called him back for more tours with FMW. He returned to the company as Mr. Pogo's partner in a tag team tournament on January 6, 1991, where the duo lost their first match in the tournament against Onita and Sambo Asako. Pogo and Gladiator made to the semi-final, where they beat Grigory Verichev and Boris Gogichashivili and then defeated Onita and Asako in the final on January 15 to win the tournament. The success of the tournament led Alfonso to work full-time with FMW.
In the summer of 1991, Gladiator would form a villainous alliance with Tarzan Goto, Big Titan and Horace Boulder after Mr. Pogo's departure from FMW and resumed the feud with Atsushi Onita. On August 17, Gladiator participated in the Barbed Wire Deathmatch Tournament, in which he defeated Horace Boulder in the quarter-final and lost to Sambo Asako in the semi-final. During this time, Gladiator was inspired by Damian's lucha libre videos on travels, which led him to adopt a high-flying style despite his big size. The following month, Gladiator and Big Titan defeated Sambo Asako and Ricky Fuji in a street fight stretcher match at the 2nd Anniversary Show. This partnership led the two to form a tag team which lasted nearly three years. In the fall of the year, Gladiator and Titan participated in the World's Strongest Tag Team Tournament to determine the inaugural WWA World Martial Arts Tag Team Champions, but were eliminated from the round robin stage with total six points. Gladiator and his allies would join The Sheik and Sabu to resume the feud with Onita and his allies throughout 1992. At 3rd Anniversary Show, Big Titan, The Gladiator and Horace Boulder defeated Sambo Asako, Ricky Fuji and The Great Punk in a street fight stretcher match. Later that year, Gladiator and Boulder participated in the Street Fight Tag Team Tournament, where they qualified for the semi-final against Tarzan Goto and Big Titan, which they lost.
Team Canada and W*ING Alliance (1993–1995)
In 1993, Gladiator formed the first villainous faction in FMW called Team Canada with Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal after The Sheik and Sabu turned fan favorites and formed an alliance with Atsushi Onita. At 4th Anniversary Show, the team of Gladiator, Ricky Fuji and Big Titan defeated Katsuji Ueda, The Great Punk and Tarzan Goto in a Captain's Fall Losing Captain Leaves Town No Rope Barbed Wire Tornado Street Fight Deathmatch, which Team Canada won. The group strengthened its dominance after Mr. Pogo returned to FMW in the summer of 1993 and took over as the leader of the group. Gladiator and Titan were defeated by Sambo Asako and Mr. Gannosuke at Summer Spectacular. The team of Gladiator, Titan and Fuji gained more success by defeating Asako, Katsuji Ueda and Grigory Verichev in a street fight at Year End Spectacular.
The following year, Gladiator and Titan participated in a double-elimination tournament for the newly created Brass Knuckles Tag Team Championship, in which they defeated Hideki Hosaka and Hisakatsu Oya in the quarter-final, Jinsei Shinzaki and Masaru Toi in the semi-final and Mr. Gannosuke and Tarzan Goto in the final to succeed in their block and then defeated Atsushi Onita and Katsutoshi Niiyama in the tournament final on January 18, 1994 to win the Brass Knuckles Tag Team Championship, marking Alfonso's first title in FMW. They successfully defended the title against Atsushi Onita and Sambo Asako in a street fight on March 29 and then lost the title to Mr. Pogo and Hisakatsu Oya in their second title defense on April 21. The title loss created dissension between Titan and Gladiator. At 5th Anniversary Show, Gladiator, Titan and Fuji took on Fuyuki-Gun in a match, where Gladiator and Titan had a miscommunication with each other but they still managed to win their match but Gladiator abandoned his partners after the match to quietly end Team Canada. As a result, Gladiator began feuding with Titan and defeated him in their first singles match against each other on July 31. Gladiator won a rematch at Summer Spectacular, before finally losing to Titan on September 7 to end the rivalry.
In October, Gladiator joined the new W*ING Alliance with Mr. Pogo, Mitsuhiro Matsunaga, Yukihiro Kanemura, Goro Tsurumi, Horace Boulder, Hideki Hosaka and Hisakatsu Oya. The group mostly consisted of wrestlers from the former W*ING promotion, who held Atsushi Onita and FMW responsible for ending the promotion and had formed the alliance to bring the demise of FMW just like W*ING suffered its demise. On October 28, Gladiator and Pogo defeated Atsushi Onita and Mr. Gannosuke to win the vacant Brass Knuckles Tag Team Championship. They lost the tag titles to Onita and Gannosuke in a rematch on February 24, 1995. At 6th Anniversary Show, Gladiator and Horace Boulder lost to Katsutoshi Niiyama and Masato Tanaka. Later at the event, Mr. Pogo turned on W*ING Alliance by blowing a fireball on Yukihiro Kanemura after Pogo and Kanemura lost their match, which led Gladiator, Boulder and Hisakatsu Oya to follow Pogo and join Lethal Weapon.
Longest reigning world champion (1995–1997)
The retirement of Atsushi Onita led FMW to change its direction from deathmatch wrestling to technical wrestling style and Gladiator received a strong push as the arch rival of the company's new top star Hayabusa. He was booked to win the Grand Slam Tournament in September, in which he defeated Hayabusa in the tournament final on September 26 to win the company's top title, the vacant Brass Knuckles Heavyweight Championship and cemented his place as the company's top villain. Gladiator made his first successful title defense against Horace Boulder on October 25. He suffered a knee injury in the fall of 1995, which forced him to vacate the title on January 5, 1996. Gladiator returned from injury to challenge Super Leather for the title on March 15, but was defeated by Leather. During this time, Víctor Quinones' group Puerto Rican Army overturned W*ING and Lethal Weapon to become the top villainous group in FMW and Quinones was luring away members of both factions into his Puerto Rican Army, which led Gladiator to turn fan favorite for the first time in his career. At 7th Anniversary Show, Hisakatsu Oya, Horace Boulder and The Gladiator lost to Super Leather and The Headhunters in a match for the inaugural World Street Fight 6-Man Tag Team Championship.
On May 27, Gladiator defeated Super Leather to win his second Brass Knuckles Heavyweight Championship. Gladiator successfully defended the title against Leather in a rematch on September 1. On September 15, Gladiator and Horace Boulder turned on Ricky Fuji during a match against Hideki Hosaka, Hido and Taka Michinoku. The entire Lethal Weapon attacked Fuji and turned on him to join Terry Funk's new group Funk Masters of Wrestling, which led Gladiator to turn into a villain again. On October 12, Gladiator attacked W*ING Kanemura after Kanemura successfully defended the Independent Heavyweight Championship against Hisakatsu Oya and Gladiator challenged Kanemura to a title unification match for both Brass Knuckles Heavyweight Championship and the Independent Heavyweight Championship at Year End Spectacular, which Gladiator won and unified both titles to become the first-ever FMW Double Champion. Gladiator successfully defended his Double Championship against Masato Tanaka on February 18, 1997. Gladiator would then resume his feud with the returning Atsushi Onita as the team of Gladiator, Terry Funk and Cactus Jack was defeated by Atsushi Onita, Masato Tanaka and W*ING Kanemura at 8th Anniversary Show on April 29. The following day, on April 30, Gladiator surpassed Atsushi Onita's fourth reign of 337 days to become the longest reigning Brass Knuckles Heavyweight Champion by having reigned for 338 days at that point.
On August 5, Hisakatsu Oya, Mr. Gannosuke and The Gladiator defeated Fuyuki-Gun at a Fuyuki Army show to win the World Street Fight 6-Man Tag Team Championship. They lost the title to the team of Hayabusa, Koji Nakagawa and Masato Tanaka on August 31. At Kawasaki Legend: Fall Spectacular, Gladiator lost the Double Championship to Masato Tanaka, thus ending his Brass Knuckles Heavyweight Championship reign at 489 days and his Independent Heavyweight Championship reign at 291 days, making him the longest reigning Brass Knuckles Heavyweight Champion and the longest reigning Independent Heavyweight Champion.
ZEN and departure (1997–1998)
Following Terry Funk's departure from FMW, Funk Masters (FMW) of Wrestling began to cripple as Atsushi Onita denounced himself as a FMW wrestler and formed ZEN on September 30, 1997 to feud with FMW. On October 21, Super Leather and The Gladiator lost a match to their former teammates Hisakatsu Oya and Mr. Gannosuke, after which Gladiator attacked Leather and officially ended Funk Masters of Wrestling. Later that night, Gladiator attacked Hayabusa after ZEN members defeated Hayabusa's team in the main event and then Gladiator raised the flag of ZEN and joined ZEN, which marked the first time in his career that he had become Atsushi Onita's ally after having feuded with him for the past seven years. Gladiator had lost his significance as a main event competitor after losing the Double Championship despite being the longest reigning champion and became a mid-card member of ZEN. The group turned fan favorites in the fall of 1997 when three of its members Mr. Gannosuke, Yukihiro Kanemura and Hido turned on Atsushi Onita and left the group and they would form Team No Respect in 1998.
In March, Gladiator participated in a tournament to determine the #1 contender for the Double Championship at 9th Anniversary Show. He defeated Hisakatsu Oya in the quarter-final and Yukihiro Kanemura in the semi-final to become the runner-up of the tournament as he lost to Hayabusa in the final. At FMW's first pay-per-view event FMW 9th Anniversary Show, Gladiator teamed with ZEN teammate Tetsuhiro Kuroda to take on TNR members Super Leather and Horace Boulder in a losing effort. Later at the event, Atsushi Onita lost a match to TNR member Kodo Fuyuki, which forced Onita to end ZEN. Gladiator became a free agent after ZEN's dissolution on May 5. Gladiator's last pay-per-view appearance in FMW was at the Welcome to the Darkside pay-per-view on August 22, where he defeated Naohiko Yamazaki, Yoshinori Sasaki and Mr. Pogo #2 in a gauntlet match. On August 26, Gladiator wrestled his last FMW match, in which he defeated longtime rival Super Leather. Alfonso injured his knee during the match and went on a hiatus, during which he returned to United States and toured with Extreme Championship Wrestling (ECW) for the rest of the year. He left the company due to disagreement over Kodo Fuyuki's style of booking.
All Japan Pro Wrestling (1998–1999)
Alfonso wrestled as The Gladiator for a brief period in All Japan Pro Wrestling in 1998 and 1999.
Eastern/Extreme Championship Wrestling (1993-1994, 1997, 1998, 1999–2000)
In 1993, Alfonso appeared in NWA Eastern Championship Wrestling (ECW) for a short period (as "Awesome" Mike Awesome), he was convinced to do so by Sabu, whom he befriended during their time in Japan. After Sabu started working for ECW, he returned to Japan and told Michael about the promotion and how he should work there. Although he was initially hesitant, citing a lack of interest, Sabu managed to talk Alfonso into it, who used his frequent-flier miles to go to Philadelphia and wrestle a match for ECW.
On February 5, 1994 at ECW's event, The Night the Line Was Crossed, Awesome nearly injured wrestler, J.T. Smith when he performed a high-risk dive to the outside of the ring. Smith's back was folded backwards against the guard rail during the impact. This spot appeared in many ECW highlight reels including the intro to a variety of their television programs for years to come. (according to ECW announcer Joey Styles his own reaction to the spot inspired his "Oh my God" catchphrase).
Awesome returned to ECW in January 1997 at House Party, defeating Balls Mahoney. At Crossing the Line Again the following month, he lost to Louie Spicolli, departing ECW once more thereafter.
In January 1998, Awesome began appearing for ECW again and continued his feud with Masato Tanaka in the United States. Awesome began in ECW by losing to Tanaka on an episode ECW's weekly Hardcore TV. However, following the match, he delivered an Awesome Bomb to Tanaka over the top rope through a table set up on the outside. Awesome lost to Tanaka again at the August Heat Wave pay-per-view event. In September 1998 at UltraClash, Awesome tore his anterior cruciate ligament in a bout with Balls Mahoney; he did not wrestle again until September 1999.
Almost immediately upon arriving in ECW for his third stint in September 1999, he shocked the wrestling world by winning the ECW World Heavyweight Championship at Anarchy Rulz by defeating the reigning champion Taz and nemesis Masato Tanaka in a three-way dance, which was signed on the spot. Awesome continued to be a major factor in ECW early in 2000, including teaming with Raven to beat Tanaka and Tommy Dreamer for the ECW World Tag Team Championship. He gained a new manager, Judge Jeff Jones, who managed Awesome to the top of winning the ECW World Heavyweight Championship twice in 1999.
World Championship Wrestling (2000–2001)
On April 10, 2000, Awesome made a surprise appearance on WCW Monday Nitro—aiding The New Blood by attacking Kevin Nash—while still reigning as ECW World Heavyweight Champion. Awesome's friend Lance Storm has said that he had refused to sign a new contract with ECW until Paul Heyman paid him overdue wages.
Due to concerns over legal issues WCW refrained from having Awesome appear on their television shows with the ECW belt. Eventually, a compromise was reached. Awesome (a WCW employee and ECW champion) appeared a few days later at an ECW event in Indianapolis, Indiana, accompanied by WCW's head of security, where he lost the title to Tazz (a World Wrestling Federation employee), who lost it a week later to Tommy Dreamer (a full-time ECW wrestler) (who incidentally lost it approximately 20 minutes later to Justin Credible). In a shoot interview released by Highspots in 2005, Awesome expressed that he would have rather faced off with his former ECW and WWE colleague Rhyno and suggested that they could have put on a more entertaining match regardless of the circumstances and the manner in which he had left ECW.
Now with WCW, Awesome continued to be a major factor with the New Blood for the next month, teaming with Billy Kidman occasionally to aid him in his feud with Hulk Hogan. Awesome also engaged in an on-and-off feud with Kevin Nash, as well as feuding with Diamond Dallas Page and Kanyon. In May 2000, Awesome threw Kanyon off the top of the first level of a triple cage onto the entrance ramp, which started his "Career Killer" gimmick.
After Bash at the Beach in July 2000, his gimmick was tweaked, with him becoming infatuated with heavyset women and calling himself "The Fat Chick Thriller", and feuded with Scott Steiner and Lance Storm for the WCW United States Championship.
On the September 6, 2000 edition of Thunder, Awesome's gimmick was changed to "That '70s Guy" (a reference to the TV series That '70s Show), for which he dressed in 1970s-inspired attire and hosted the "Lava Lamp Lounge" interview segment. He was additionally given a bus that resembled the one featured on The Partridge Family to drive into arenas as part of his entrance. During this time, he had a feud with Vampiro, which resulted in brawls between Awesome and Vampiro's allies, the rap duo Insane Clown Posse (Violent J and Shaggy 2 Dope). Awesome battled both ICP members in a handicap match on an episode of Nitro, during which he hit Shaggy with a powerbomb on the roof of the bus that caused Shaggy to fall to the concrete floor below.
On the January 3, 2001 edition of Thunder, Awesome dropped the 1970s gimmick in favor of a "Canadian Career Killer" gimmick and joined WCW's Team Canada stable with Lance Storm and Elix Skipper. A feud with The Filthy Animals led to Awesome challenging Billy Kidman to a Hair-vs-Hair match, on January 15, however before the bout could take place, Team Canada attacked Kidman backstage, leaving him unable to compete. Kidman's bald stablemate Konnan replaced him and got the win, giving the Animals the right to cut off Awesome's longtime mullet. Awesome then faded into the background, mostly helping Storm in his battles against Ernest "The Cat" Miller. On the final Nitro on March 26, 2001 Awesome and Storm were defeated by Chuck Palumbo and Sean O'Haire in a WCW World Tag Team Championship match.
In an shoot interview released by Highspots in 2003, Awesome conspired that the infamous incident between Vince Russo and Hulk Hogan at Bash at the Beach 2000 may have been one of the underlying reasons as to why he was plagued by a string of unfavorable gimmicks. As a cousin of Michael Bollea (Horace Hogan, who also left WCW following the incident), Awesome suggested that Russo may have thought that he was just "too close of kin" to Hulk Hogan and decided to take it out on him.
World Wrestling Federation/Entertainment (1996, 2001–2002)
He first made a appearance in WWF as a jobber on December 12, 1996 losing to Justin Credible who was known then as Aldo Montoya in a dark match for WWF Superstars of Wrestling.
After the March 2001 purchase of WCW by the World Wrestling Federation (WWF), Awesome became part of The Invasion storyline in the WWF. His WWF debut came on the June 25, 2001 episode of Raw during a match which saw Test defending his Hardcore Championship against Rhyno. After Rhyno Gored Test against a wall and pinned him he stood celebrating his new title only to be attacked by Awesome wielding a metal pipe. He then powerbombed Rhyno onto a ladder and pinned him, becoming champion himself due to the 24/7 rule. Awesome was the first "Invader" to gain gold in the WWF, stealing away with the Hardcore belt before any WWF wrestlers could catch him. Awesome's hardcore reign came to an end a few weeks later on the July 12 edition of SmackDown! when he was pinned by Jeff Hardy, thanks to distraction from Edge.
Awesome defeated Edge on the July 16 episode of Raw.
The feud continued when Edge introduced his tag team partner Christian into the rivalry. Awesome and Lance Storm were defeated by Edge and Christian at Invasion on July 22, Awesome's first WWF pay-per-view match. From here Awesome's push diminished and he began appearing mostly on WWF's b-shows, before being sidelined with an injury in November 2001.
Awesome returned to the SmackDown! brand on the July 27, 2002 edition of Velocity where he was defeated by Tajiri. Awesome was a mainstay on Velocity, SmackDown!'s tertiary show, for the next few months jobbing to wrestlers such as Faarooq, Bull Buchanan, Mark Henry and Funaki.
Awesome was released from the WWE on September 27, 2002 along with Shawn Stasiak and Horace Hogan. Awesome was quoted saying, "Being in the WWE (formerly the WWF) sucked. I hated it. You had to kiss everybody's ass... You had to be on your political toes all the time. You would not believe the backstage politics. You were getting stabbed in the back constantly. I was so happy when I was told I was gone".
Later Career (2002–2006)
From 2002 to 2006, Awesome competed on the independent circuit in the United States and Japan where he returned to All Japan Pro Wrestling as "The Gladiator" once again. On the independent circuit, he had a short stint with Major League Wrestling (MLW) where he won the MLW World Heavyweight Championship from Satoshi Kojima, only to lose it ten minutes later to Steve Corino (Kojima's employers, AJPW would not allow him to drop the title to an employee of a rival company Zero-1).
He worked for Pro Wrestling Noah from 2004 to 2005.
In February 2006, after 17 years in the ring, Awesome announced his retirement from wrestling, saying he wanted to spend more time with his family and adding that he felt underpaid for his work at the One Night Stand event and that he would only return to the ring "if the money was right".
Total Nonstop Action Wrestling (2003)
In April 2003, Awesome debuted in Total Nonstop Action Wrestling. He wrestled several matches for the promotion before leaving in May 2003. His TNA in-ring debut was on April 16, 2003 where Awesome defeated Perry Saturn by DQ when The Sandman and New Jack interfered. On April 23, Awesome teamed with Brian Lee and Slash in a losing effort against Perry Saturn, New Jack and The Sandman. On May 14, Awesome competed in his final TNA match where he lost to Mike Sanders in a Tables Match.
Return to WWE (2005)
Awesome made an appearance at WWE's (formerly the WWF) ECW One Night Stand reunion pay-per-view on June 13, 2005, defeating Masato Tanaka. The crowd greeted Awesome with jeers at the beginning of the match, and commentator Joey Styles made frequent references to Awesome's leaving of ECW for WCW, but by the end the crowd were chanting "this match rules!" and gave both men a standing ovation.
Other media
Alfonso appeared in at least four wrestling video games including ECW Hardcore Revolution, WCW Backstage Assault, Virtual Pro Wrestling 2: Ōdō Keishō, and Fire Pro Wrestling Returns. The ECW toy series manufactured by Original San Francisco Toymakers released a Mike Awesome action figure in 2000. A WCW action figure of Awesome was released by Toy Biz in 2001.
Personal life
Alfonso attended King High School in Tampa, Florida and trained at Stan's Gym, an old school muscle gym, on 56th Street. On May 11, 1991, he married his high school sweetheart Delisa Diann Bowers in Hillsborough, Florida. They had two children together; son Casey (born 1996) and daughter Carissa (born 2000). Alfonso was an avid outdoorsman and enjoyed fishing and trail bike riding with friends and his son. He enjoyed mountain biking and would ride frequently at Alafia River State Park in Florida, close to his Tampa home.
Alfonso was the cousin of Hulk Hogan's nephew Michael Bollea, who was better known for his stint in WCW under the name Horace Hogan. He is no relation of fellow ECW alumnus Bill Alfonso.
After Awesome's retirement from professional wrestling, he served as a real estate agent in New Tampa, Florida.
Death
On February 17, 2007, a group of Alfonso's friends found him dead after he had hung himself inside his Tampa home. He was 42 years old. WWE acknowledged his death on the February 20 broadcast of ECW on Sci-Fi with an "In Memory..." graphic at the opening of the program, and two days later his family received friends at Serenity Meadows Funeral Home in Riverview, Florida.
Championships and accomplishments
Extreme Championship Wrestling
ECW World Heavyweight Championship (2 times)
ECW World Tag Team Championship (1 time) – with Raven
Frontier Martial-Arts Wrestling
FMW Independent World Heavyweight Championship (1 time)
FMW World Brass Knuckles Championship (2 times)
FMW World Brass Knuckles Tag Team Championship (2 times) – with Big Titan (1), and Mr. Pogo (1)
FMW World Street Fight 6-Man Tag Team Championship (1 time) – with Mr. Gannosuke and Hisakatsu Oya
FMW Tag Team Tournament (1991) – with Mr. Pogo
FMW Brass Knuckles Tag Team Championship Tournament (1994) – with Big Titan
Grand Slam Tournament (1995)
FMW World Street Fight 6-Man Tag Team Championship Tournament (1997) – with Hisakatsu Oya and Mr. Gannosuke
Major League Wrestling
MLW World Heavyweight Championship (1 time)
Pro Wrestling Illustrated
Ranked No. 7 of the top 500 singles wrestlers in the PWI 500 in 2000
World Wrestling Federation
WWF Hardcore Championship (1 time)
Wrestling Observer Newsletter
Worst Gimmick (2000)
See also
List of premature professional wrestling deaths
References
External links
1965 births
2007 deaths
2007 suicides
American male professional wrestlers
C. Leon King High School alumni
ECW Heavyweight Champions/ECW World Heavyweight Champions
ECW World Tag Team Champions
Expatriate professional wrestlers in Japan
Sportspeople from Tampa, Florida
Professional wrestlers from Florida
Suicides by hanging in Florida
WWF/WWE Hardcore Champions
American expatriate sportspeople in Japan
| true |
[
"Tangerine Bank, operating as Tangerine, is a Canadian direct bank and a subsidiary of Scotiabank. It offers no-fee chequing and savings accounts, Guaranteed Investment Certificates (GIC), mortgages, and mutual funds (through a subsidiary). Many savings and investment products are eligible for registration under a Tax-Free Savings Account (TFSA), Registered Retirement Savings Plan (RRSP), or Registered Retirement Income Fund (RRIF).\n\nFounded by ING Group on April 27, 1997, as ING Direct Canada, the bank was acquired by Scotiabank in November 2012. The new name for the bank was revealed in November 2013, and Tangerine was rolled out beginning in April 2014.\n\nAlthough now wholly owned by Scotiabank, it remains a separate legal entity and thus retains its separate Institution Number 614, with all accounts being under a single transit number, 00152.\n\nHistory\nThe predecessor of Tangerine, ING Bank of Canada (which operated as ING Direct) was founded in April 1997 and operated as a telephone banking service offering savings accounts. It was the first test market for ING Group's direct banking business model, where the aim was to offer more favourable rates to customers by avoiding the costs of running a network of branches. Dutch actor Frederik de Groot served as the company's spokesperson in ING Direct Canada television commercials.\n\nAs the bank expanded into online banking it also grew to offer mortgages, RRSPs, TFSAs, GICs, mutual funds and a no-fee chequing account.\n\nIn November 2013, ING Direct Canada claimed over 1.8 million customers, employed almost 1,000 people and held close to $40 billion in total assets.\n\nAcquisition by Scotiabank and name change\nIn November 2012 Scotiabank completed the acquisition of ING Direct Canada from ING Group, the Netherlands-based parent company of ING Direct Canada in a CAD$3.1 billion deal first announced in August 2012.\n\nAs part of the terms of the deal the bank was required to change its name from ING Direct before May 2014.\n\nOn November 5, 2013, ING Direct Canada revealed that its name would be changed to Tangerine in early 2014. The bank stated that the name change was the culmination of a year-long consultation process involving more than 10,000 people in qualitative and quantitative research.\n\nTangerine continues to use the 'Forward Banking' tagline used by ING Direct Canada from 2012 onwards. Prior to 2012, ING Direct Canada had used the tagline 'Save Your Money'.\n\nOn November 19, 2015, Tangerine was named by Waterstone Human Capital as one of Canada's 10 Most Admired Corporate Cultures of 2015.\n\nProducts and services\nTangerine offers the same services that had been provided by ING Direct Canada, namely, savings accounts, a chequing account, mutual funds and mortgages. Tangerine's mutual funds (marketed as \"portfolios\") are based on an indexing strategy, each tracking a weighted combination of three or four equity and/or bond indices.\n\nIn 2016, Tangerine began to offer a Mastercard cash back credit card which provides customers up to 2% cash back on certain purchases.\n\nTangerine's banking app is available to customers through iOS, Android, Blackberry and Windows Mobile. Support was also available for Wear OS and Apple Watch, but was discontinued on February 29, 2020. The apps allows Tangerine customers to view their account balances, transactions, make transfers, find ABMs and deposit cheques by taking a picture.\n\nAs a result of the Scotiabank acquisition, Scotiabank ABMs and those of other banks in the Global ATM Alliance became free for customers to use in June 2014. As of September 28, 2014, Tangerine withdrew from The Exchange, its previous network of no-charge ABMs.\n\nLocations\nOperating without traditional bank branches, ING Direct Canada instead opened a small network of ING Direct Cafes, for its face-to-face contact points. The first café opened in Toronto in 1997, with a further three opening in Vancouver, Montreal and Calgary, as well a second Toronto location. The rebranded Tangerine continued to operate these cafés under Scotiabank ownership. From time to time, the bank also opened temporary pop-up locations to help promote their products.\n\nIn its 2020 public accountability statement published in early 2021, Tangerine announced that it had decided to permanently close all of its cafés except for the Toronto North café located in its head office. All locations had been closed temporarily throughout the COVID-19 pandemic.\n\nSee also\n\n List of banks in Canada\n Alterna Savings\n Motive Financial\n Simplii Financial\n\nReferences\n\nExternal links\n Official website\n\nScotiabank\n1997 establishments in Ontario\nCanadian companies established in 1997\nBanks established in 1997\nBanks of Canada\nOnline banks\nMortgage lenders of Canada\nCompanies based in Toronto\nFinancial services brands\nNeobanks",
"Arkadi Kuhlmann (born October 27, 1946) is a dual U.S.-Canadian citizen, businessman, speaker, author, and artist. He is best known as a banking entrepreneur, having served as CEO of both ING Direct Canada and ING Direct USA. In July 2012, Arkadi founded his sixth banking startup, ZenBanx, and was serving as its CEO before selling the business to SoFi in February 2017.\n\nKuhlmann received an Honors B.A. in business administration along with an MBA from the Richard Ivey School of Business. In 2010, he was awarded an honorary Doctor of Laws (LL.D.) from the University of Western Ontario for his contributions to the world of business strategy.\n\nCareer\nKuhlmann began his career as a business professor shortly after graduating from the University of Western Ontario. He soon gravitated to banking as an assistant director of the Institute of Canadian Bankers, and as a consultant for the banking industry.\n\nBetween 1977-1984, Kuhlmann served as manager, assistant general manager, and then Vice President of Royal Bank of Canada in its corporate cash management and commercial banking marketing divisions.\n\nKuhlmann served as president and CEO at Deak & Co. and Deak International from 1985-1993. Deak & Co. provided merchant and investment banking services. Deak International provided foreign exchange and precious metals trading and refining services. Kuhlmann reorganized Deak International's operations, re-launching the company in April 1986, expanding the company from 52 to 192 branches worldwide, and from 350 to 1,500 employees; achieving revenues of $1B wholesale and $2.5B retail, with an income of $70M. Kuhlmann oversaw the successful divestiture of Deak International in 1990. Following the divestiture of Deak International to North American Life, Kuhlmann served as president of North American Trust until 1996.\n\nKuhlmann founded ING Direct Canada in 1996. He created the brand strategy, recruited the senior leadership team, and grew the bank from 1996 to 2000 serving as the bank's president and CEO. He then repeated this process in 2000, when he founded ING Direct USA and led its growth to become the largest savings bank and number one direct bank in the United States, with more than $90B in deposits and 7.8M customers.\n\nHe instituted an annual vote where he asked his staff to \"re-elect\" him as CEO. He went on to write his book titled, Rock Then Roll: The Secrets of Culture Driven Leadership, to better understand how culture plays a driving force in modern corporations.\n\nIn late 2009, as a condition of its government bailout during the financial crisis, ING Groep, the parent company of ING Direct Canada and USA, and the largest Dutch financial-services firm, agreed on a restructuring plan with the European Commission. The restructuring plan mandated that ING Groep sell its North American online banking operations, which included ING Direct USA and Canada. On June 17, 2011, ING Groep agreed to sell ING Direct USA, and its seven million customers, to Capital One Financial for $9.2B. The Federal Reserve approved the sale on February 14, 2012 and Capital One completed its acquisition of ING Direct USA on February 17, 2012.\n\nING Direct Canada, founded by Kuhlmann in 1996, was purchased from ING Groep by Scotiabank for $3.13 billion in an acquisition announced on August 29, 2012.\n\nFollowing the ING Direct USA acquisition, Kuhlmann stepped down as chairman and CEO.\n\nAuthor\nKuhlmann has authored two books on business. The first, The Orange Code: How ING Direct Succeeded by Being a Rebel With a Cause, he co-authored with long-time collaborator, Bruce Philp. The book was published in 2009 by John Wiley & Sons.\n\nHis second book, Rock Then Roll: The Secrets of Culture-Driven Leadership, was written as a solo effort. In an interview with Forbes, he stated it was a book for all his ING Direct associates, and a blueprint for how the \"protest generation\" should think about corporate culture. Deak & Company published Rock Then Roll in 2011.\n\nHe has written several other books on finance, including Prime Cash: First Steps in Treasury Management, authored with F. John Mathis and James Mills, First Edition: April, 1983; and numerous university business cases. His thoughts on banking, leadership, and innovation have appeared in major newspapers, including The Wall Street Journal, The Washington Post, and The New York Times.\n\nVolunteer\nKuhlmann was honorary chair for the 2005 \"More Than Houses Campaign\" for Habitat for Humanity of New Castle County, Delaware.\n\nDuring his tenure as CEO of ING Direct, Kuhlmann formed the ING Direct Kids Foundation with a mandate to help children improve their financial literacy.\n\nKuhlmann currently serves as a director at Christiana Care Health System, Inc., and on the board of directors of the Council for Economic Education.\n\nPersonal\nIn his personal time, Kuhlmann goes to his island in Georgian Bay, where he sails on a private boat.\n\nKuhlmann is also known for his love of riding motorbikes. He has two Harleys. In recent years, he's been devoting more time to painting and poetry.\n\nReferences\n\nCanadian businesspeople\nCanadian business writers\n1946 births\nLiving people\nGerman emigrants to Canada\nCanadian painters"
] |
[
"Mike Awesome",
"Team Canada and W*ING Alliance (1993-1995)",
"how did he join Team Canada?",
"Gladiator formed the first villainous faction in FMW called Team Canada",
"How many people are on the team?",
"Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal",
"Is that the same team as the W*ING Alliance?",
"In October, Gladiator joined the new W*ING Alliance",
"Was Team Canada or W*ING more successful?",
"The team of Gladiator, Titan and Fuji gained more success"
] |
C_e663e88e71f04541acab03b62631f02c_1
|
how many years did Team Canada last?
| 5 |
How many years did Team Canada of FMW last?
|
Mike Awesome
|
In 1993, Gladiator formed the first villainous faction in FMW called Team Canada with Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal after The Sheik and Sabu turned fan favorites and formed an alliance with Atsushi Onita. At 4th Anniversary Show, the team of Gladiator, Ricky Fuji and Big Titan defeated Katsuji Ueda, The Great Punk and Tarzan Goto in a Captain's Fall Losing Captain Leaves Town No Rope Barbed Wire Tornado Street Fight Deathmatch, which Team Canada won. The group strengthened its dominance after Mr. Pogo returned to FMW in the summer of 1993 and took over as the leader of the group. Gladiator and Titan were defeated by Sambo Asako and Mr. Gannosuke at Summer Spectacular. The team of Gladiator, Titan and Fuji gained more success by defeating Asako, Katsuji Ueda and Grigory Verichev in a street fight at Year End Spectacular. The following year, Gladiator and Titan participated in a double-elimination tournament for the newly created Brass Knuckles Tag Team Championship, in which they defeated Hideki Hosaka and Hisakatsu Oya in the quarter-final, Jinsei Shinzaki and Masaru Toi in the semi-final and Mr. Gannosuke and Tarzan Goto in the final to succeed in their block and then defeated Atsushi Onita and Katsutoshi Niiyama in the tournament final on January 18, 1994 to win the Brass Knuckles Tag Team Championship, marking Alfonso's first title in FMW. They successfully defended the title against Atsushi Onita and Sambo Asako in a street fight on March 29 and then lost the title to Mr. Pogo and Hisakatsu Oya in their second title defense on April 21. The title loss created dissension between Titan and Gladiator. At 5th Anniversary Show, Gladiator, Titan and Fuji took on Fuyuki-Gun in a match, where Gladiator and Titan had a miscommunication with each other but they still managed to win their match but Gladiator abandoned his partners after the match to quietly end Team Canada. As a result, Gladiator began feuding with Titan and defeated him in their first singles match against each other on July 31. Gladiator won a rematch at Summer Spectacular, before finally losing to Titan on September 7 to end the rivalry. In October, Gladiator joined the new W*ING Alliance with Mr. Pogo, Mitsuhiro Matsunaga, Yukihiro Kanemura, Goro Tsurumi, Horace Boulder, Hideki Hosaka and Hisakatsu Oya. The group mostly consisted of wrestlers from the former W*ING promotion, who held Atsushi Onita and FMW responsible for ending the promotion and had formed the alliance to bring the demise of FMW just like W*ING suffered its demise. On October 28, Gladiator and Pogo defeated Atsushi Onita and Mr. Gannosuke to win the vacant Brass Knuckles Tag Team Championship. They lost the tag titles to Onita and Gannosuke in a rematch on February 24, 1995. At 6th Anniversary Show, Gladiator and Horace Boulder lost to Katsutoshi Niiyama and Masato Tanaka. Later at the event, Mr. Pogo turned on W*ING Alliance by blowing a fireball on Yukihiro Kanemura after Pogo and Kanemura lost their match, which led Gladiator, Boulder and Hisakatsu Oya to follow Pogo and join Lethal Weapon. CANNOTANSWER
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CANNOTANSWER
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Michael Lee Alfonso (January 24, 1965 – February 17, 2007) was an American professional wrestler. He was best known for his appearances with the American professional wrestling promotions Extreme Championship Wrestling, World Championship Wrestling and the World Wrestling Federation/Entertainment under the ring name Mike Awesome and for his appearances in Japan with Frontier Martial-Arts Wrestling and All Japan Pro Wrestling as The Gladiator.
Alfonso achieved the biggest success of his career in FMW as The Gladiator, where he became a three-time world champion, with two reigns as Brass Knuckles Heavyweight Champion and one reign as Independent Heavyweight Champion. His second Brass Knuckles Heavyweight Championship reign from 1996–1997 was the longest reign in the title's history, lasting for 489 days. During this reign, he defeated W*ING Kanemura to unify the title with the Independent Heavyweight Championship at the 1996 Year End Spectacular. He would then tour with ECW, where he became a two-time World Heavyweight Champion. He was a member of two separate stables Team Canada in both FMW and WCW.
Professional wrestling career
Early career (1989–1990)
Alfonso was trained to wrestle by Steve Keirn, debuting on February 26, 1989 at the Eddie Graham Sports Complex in Orlando, Florida. Alfonso trained for about one year along with former professional wrestlers, Dennis Knight (Mideon, Phineas Godwin) and "Big" Al Green before making his debut. Alfonso competed in Florida Championship Wrestling, USWA, NWA and World Championship Wrestling, before making his way to FMW in Japan.
Frontier Martial-Arts Wrestling
Initial years (1990–1992)
Alfonso moved on to Japan, joining Frontier Martial-Arts Wrestling (FMW) in September 1990 and using the name The Gladiator. He was recruited by FMW as the replacement for Al Green, who was originally scheduled to compete as Gladiator but moved to WCW. Alfonso debuted in FMW as a monster villain on September 20 in a street fight with Mr. Pogo against Atsushi Onita and Jimmy Backlund, which Alfonso's team won. Gladiator was Pogo's ally who feuded with Onita and competed with Pogo against Onita and his partners. He lost to Onita in a Chain Deathmatch on October 1, after which Alfonso returned to United States. Onita was impressed by Gladiator and called him back for more tours with FMW. He returned to the company as Mr. Pogo's partner in a tag team tournament on January 6, 1991, where the duo lost their first match in the tournament against Onita and Sambo Asako. Pogo and Gladiator made to the semi-final, where they beat Grigory Verichev and Boris Gogichashivili and then defeated Onita and Asako in the final on January 15 to win the tournament. The success of the tournament led Alfonso to work full-time with FMW.
In the summer of 1991, Gladiator would form a villainous alliance with Tarzan Goto, Big Titan and Horace Boulder after Mr. Pogo's departure from FMW and resumed the feud with Atsushi Onita. On August 17, Gladiator participated in the Barbed Wire Deathmatch Tournament, in which he defeated Horace Boulder in the quarter-final and lost to Sambo Asako in the semi-final. During this time, Gladiator was inspired by Damian's lucha libre videos on travels, which led him to adopt a high-flying style despite his big size. The following month, Gladiator and Big Titan defeated Sambo Asako and Ricky Fuji in a street fight stretcher match at the 2nd Anniversary Show. This partnership led the two to form a tag team which lasted nearly three years. In the fall of the year, Gladiator and Titan participated in the World's Strongest Tag Team Tournament to determine the inaugural WWA World Martial Arts Tag Team Champions, but were eliminated from the round robin stage with total six points. Gladiator and his allies would join The Sheik and Sabu to resume the feud with Onita and his allies throughout 1992. At 3rd Anniversary Show, Big Titan, The Gladiator and Horace Boulder defeated Sambo Asako, Ricky Fuji and The Great Punk in a street fight stretcher match. Later that year, Gladiator and Boulder participated in the Street Fight Tag Team Tournament, where they qualified for the semi-final against Tarzan Goto and Big Titan, which they lost.
Team Canada and W*ING Alliance (1993–1995)
In 1993, Gladiator formed the first villainous faction in FMW called Team Canada with Ricky Fuji, Big Titan, Horace Boulder, Dr. Luther and Dr. Hannibal after The Sheik and Sabu turned fan favorites and formed an alliance with Atsushi Onita. At 4th Anniversary Show, the team of Gladiator, Ricky Fuji and Big Titan defeated Katsuji Ueda, The Great Punk and Tarzan Goto in a Captain's Fall Losing Captain Leaves Town No Rope Barbed Wire Tornado Street Fight Deathmatch, which Team Canada won. The group strengthened its dominance after Mr. Pogo returned to FMW in the summer of 1993 and took over as the leader of the group. Gladiator and Titan were defeated by Sambo Asako and Mr. Gannosuke at Summer Spectacular. The team of Gladiator, Titan and Fuji gained more success by defeating Asako, Katsuji Ueda and Grigory Verichev in a street fight at Year End Spectacular.
The following year, Gladiator and Titan participated in a double-elimination tournament for the newly created Brass Knuckles Tag Team Championship, in which they defeated Hideki Hosaka and Hisakatsu Oya in the quarter-final, Jinsei Shinzaki and Masaru Toi in the semi-final and Mr. Gannosuke and Tarzan Goto in the final to succeed in their block and then defeated Atsushi Onita and Katsutoshi Niiyama in the tournament final on January 18, 1994 to win the Brass Knuckles Tag Team Championship, marking Alfonso's first title in FMW. They successfully defended the title against Atsushi Onita and Sambo Asako in a street fight on March 29 and then lost the title to Mr. Pogo and Hisakatsu Oya in their second title defense on April 21. The title loss created dissension between Titan and Gladiator. At 5th Anniversary Show, Gladiator, Titan and Fuji took on Fuyuki-Gun in a match, where Gladiator and Titan had a miscommunication with each other but they still managed to win their match but Gladiator abandoned his partners after the match to quietly end Team Canada. As a result, Gladiator began feuding with Titan and defeated him in their first singles match against each other on July 31. Gladiator won a rematch at Summer Spectacular, before finally losing to Titan on September 7 to end the rivalry.
In October, Gladiator joined the new W*ING Alliance with Mr. Pogo, Mitsuhiro Matsunaga, Yukihiro Kanemura, Goro Tsurumi, Horace Boulder, Hideki Hosaka and Hisakatsu Oya. The group mostly consisted of wrestlers from the former W*ING promotion, who held Atsushi Onita and FMW responsible for ending the promotion and had formed the alliance to bring the demise of FMW just like W*ING suffered its demise. On October 28, Gladiator and Pogo defeated Atsushi Onita and Mr. Gannosuke to win the vacant Brass Knuckles Tag Team Championship. They lost the tag titles to Onita and Gannosuke in a rematch on February 24, 1995. At 6th Anniversary Show, Gladiator and Horace Boulder lost to Katsutoshi Niiyama and Masato Tanaka. Later at the event, Mr. Pogo turned on W*ING Alliance by blowing a fireball on Yukihiro Kanemura after Pogo and Kanemura lost their match, which led Gladiator, Boulder and Hisakatsu Oya to follow Pogo and join Lethal Weapon.
Longest reigning world champion (1995–1997)
The retirement of Atsushi Onita led FMW to change its direction from deathmatch wrestling to technical wrestling style and Gladiator received a strong push as the arch rival of the company's new top star Hayabusa. He was booked to win the Grand Slam Tournament in September, in which he defeated Hayabusa in the tournament final on September 26 to win the company's top title, the vacant Brass Knuckles Heavyweight Championship and cemented his place as the company's top villain. Gladiator made his first successful title defense against Horace Boulder on October 25. He suffered a knee injury in the fall of 1995, which forced him to vacate the title on January 5, 1996. Gladiator returned from injury to challenge Super Leather for the title on March 15, but was defeated by Leather. During this time, Víctor Quinones' group Puerto Rican Army overturned W*ING and Lethal Weapon to become the top villainous group in FMW and Quinones was luring away members of both factions into his Puerto Rican Army, which led Gladiator to turn fan favorite for the first time in his career. At 7th Anniversary Show, Hisakatsu Oya, Horace Boulder and The Gladiator lost to Super Leather and The Headhunters in a match for the inaugural World Street Fight 6-Man Tag Team Championship.
On May 27, Gladiator defeated Super Leather to win his second Brass Knuckles Heavyweight Championship. Gladiator successfully defended the title against Leather in a rematch on September 1. On September 15, Gladiator and Horace Boulder turned on Ricky Fuji during a match against Hideki Hosaka, Hido and Taka Michinoku. The entire Lethal Weapon attacked Fuji and turned on him to join Terry Funk's new group Funk Masters of Wrestling, which led Gladiator to turn into a villain again. On October 12, Gladiator attacked W*ING Kanemura after Kanemura successfully defended the Independent Heavyweight Championship against Hisakatsu Oya and Gladiator challenged Kanemura to a title unification match for both Brass Knuckles Heavyweight Championship and the Independent Heavyweight Championship at Year End Spectacular, which Gladiator won and unified both titles to become the first-ever FMW Double Champion. Gladiator successfully defended his Double Championship against Masato Tanaka on February 18, 1997. Gladiator would then resume his feud with the returning Atsushi Onita as the team of Gladiator, Terry Funk and Cactus Jack was defeated by Atsushi Onita, Masato Tanaka and W*ING Kanemura at 8th Anniversary Show on April 29. The following day, on April 30, Gladiator surpassed Atsushi Onita's fourth reign of 337 days to become the longest reigning Brass Knuckles Heavyweight Champion by having reigned for 338 days at that point.
On August 5, Hisakatsu Oya, Mr. Gannosuke and The Gladiator defeated Fuyuki-Gun at a Fuyuki Army show to win the World Street Fight 6-Man Tag Team Championship. They lost the title to the team of Hayabusa, Koji Nakagawa and Masato Tanaka on August 31. At Kawasaki Legend: Fall Spectacular, Gladiator lost the Double Championship to Masato Tanaka, thus ending his Brass Knuckles Heavyweight Championship reign at 489 days and his Independent Heavyweight Championship reign at 291 days, making him the longest reigning Brass Knuckles Heavyweight Champion and the longest reigning Independent Heavyweight Champion.
ZEN and departure (1997–1998)
Following Terry Funk's departure from FMW, Funk Masters (FMW) of Wrestling began to cripple as Atsushi Onita denounced himself as a FMW wrestler and formed ZEN on September 30, 1997 to feud with FMW. On October 21, Super Leather and The Gladiator lost a match to their former teammates Hisakatsu Oya and Mr. Gannosuke, after which Gladiator attacked Leather and officially ended Funk Masters of Wrestling. Later that night, Gladiator attacked Hayabusa after ZEN members defeated Hayabusa's team in the main event and then Gladiator raised the flag of ZEN and joined ZEN, which marked the first time in his career that he had become Atsushi Onita's ally after having feuded with him for the past seven years. Gladiator had lost his significance as a main event competitor after losing the Double Championship despite being the longest reigning champion and became a mid-card member of ZEN. The group turned fan favorites in the fall of 1997 when three of its members Mr. Gannosuke, Yukihiro Kanemura and Hido turned on Atsushi Onita and left the group and they would form Team No Respect in 1998.
In March, Gladiator participated in a tournament to determine the #1 contender for the Double Championship at 9th Anniversary Show. He defeated Hisakatsu Oya in the quarter-final and Yukihiro Kanemura in the semi-final to become the runner-up of the tournament as he lost to Hayabusa in the final. At FMW's first pay-per-view event FMW 9th Anniversary Show, Gladiator teamed with ZEN teammate Tetsuhiro Kuroda to take on TNR members Super Leather and Horace Boulder in a losing effort. Later at the event, Atsushi Onita lost a match to TNR member Kodo Fuyuki, which forced Onita to end ZEN. Gladiator became a free agent after ZEN's dissolution on May 5. Gladiator's last pay-per-view appearance in FMW was at the Welcome to the Darkside pay-per-view on August 22, where he defeated Naohiko Yamazaki, Yoshinori Sasaki and Mr. Pogo #2 in a gauntlet match. On August 26, Gladiator wrestled his last FMW match, in which he defeated longtime rival Super Leather. Alfonso injured his knee during the match and went on a hiatus, during which he returned to United States and toured with Extreme Championship Wrestling (ECW) for the rest of the year. He left the company due to disagreement over Kodo Fuyuki's style of booking.
All Japan Pro Wrestling (1998–1999)
Alfonso wrestled as The Gladiator for a brief period in All Japan Pro Wrestling in 1998 and 1999.
Eastern/Extreme Championship Wrestling (1993-1994, 1997, 1998, 1999–2000)
In 1993, Alfonso appeared in NWA Eastern Championship Wrestling (ECW) for a short period (as "Awesome" Mike Awesome), he was convinced to do so by Sabu, whom he befriended during their time in Japan. After Sabu started working for ECW, he returned to Japan and told Michael about the promotion and how he should work there. Although he was initially hesitant, citing a lack of interest, Sabu managed to talk Alfonso into it, who used his frequent-flier miles to go to Philadelphia and wrestle a match for ECW.
On February 5, 1994 at ECW's event, The Night the Line Was Crossed, Awesome nearly injured wrestler, J.T. Smith when he performed a high-risk dive to the outside of the ring. Smith's back was folded backwards against the guard rail during the impact. This spot appeared in many ECW highlight reels including the intro to a variety of their television programs for years to come. (according to ECW announcer Joey Styles his own reaction to the spot inspired his "Oh my God" catchphrase).
Awesome returned to ECW in January 1997 at House Party, defeating Balls Mahoney. At Crossing the Line Again the following month, he lost to Louie Spicolli, departing ECW once more thereafter.
In January 1998, Awesome began appearing for ECW again and continued his feud with Masato Tanaka in the United States. Awesome began in ECW by losing to Tanaka on an episode ECW's weekly Hardcore TV. However, following the match, he delivered an Awesome Bomb to Tanaka over the top rope through a table set up on the outside. Awesome lost to Tanaka again at the August Heat Wave pay-per-view event. In September 1998 at UltraClash, Awesome tore his anterior cruciate ligament in a bout with Balls Mahoney; he did not wrestle again until September 1999.
Almost immediately upon arriving in ECW for his third stint in September 1999, he shocked the wrestling world by winning the ECW World Heavyweight Championship at Anarchy Rulz by defeating the reigning champion Taz and nemesis Masato Tanaka in a three-way dance, which was signed on the spot. Awesome continued to be a major factor in ECW early in 2000, including teaming with Raven to beat Tanaka and Tommy Dreamer for the ECW World Tag Team Championship. He gained a new manager, Judge Jeff Jones, who managed Awesome to the top of winning the ECW World Heavyweight Championship twice in 1999.
World Championship Wrestling (2000–2001)
On April 10, 2000, Awesome made a surprise appearance on WCW Monday Nitro—aiding The New Blood by attacking Kevin Nash—while still reigning as ECW World Heavyweight Champion. Awesome's friend Lance Storm has said that he had refused to sign a new contract with ECW until Paul Heyman paid him overdue wages.
Due to concerns over legal issues WCW refrained from having Awesome appear on their television shows with the ECW belt. Eventually, a compromise was reached. Awesome (a WCW employee and ECW champion) appeared a few days later at an ECW event in Indianapolis, Indiana, accompanied by WCW's head of security, where he lost the title to Tazz (a World Wrestling Federation employee), who lost it a week later to Tommy Dreamer (a full-time ECW wrestler) (who incidentally lost it approximately 20 minutes later to Justin Credible). In a shoot interview released by Highspots in 2005, Awesome expressed that he would have rather faced off with his former ECW and WWE colleague Rhyno and suggested that they could have put on a more entertaining match regardless of the circumstances and the manner in which he had left ECW.
Now with WCW, Awesome continued to be a major factor with the New Blood for the next month, teaming with Billy Kidman occasionally to aid him in his feud with Hulk Hogan. Awesome also engaged in an on-and-off feud with Kevin Nash, as well as feuding with Diamond Dallas Page and Kanyon. In May 2000, Awesome threw Kanyon off the top of the first level of a triple cage onto the entrance ramp, which started his "Career Killer" gimmick.
After Bash at the Beach in July 2000, his gimmick was tweaked, with him becoming infatuated with heavyset women and calling himself "The Fat Chick Thriller", and feuded with Scott Steiner and Lance Storm for the WCW United States Championship.
On the September 6, 2000 edition of Thunder, Awesome's gimmick was changed to "That '70s Guy" (a reference to the TV series That '70s Show), for which he dressed in 1970s-inspired attire and hosted the "Lava Lamp Lounge" interview segment. He was additionally given a bus that resembled the one featured on The Partridge Family to drive into arenas as part of his entrance. During this time, he had a feud with Vampiro, which resulted in brawls between Awesome and Vampiro's allies, the rap duo Insane Clown Posse (Violent J and Shaggy 2 Dope). Awesome battled both ICP members in a handicap match on an episode of Nitro, during which he hit Shaggy with a powerbomb on the roof of the bus that caused Shaggy to fall to the concrete floor below.
On the January 3, 2001 edition of Thunder, Awesome dropped the 1970s gimmick in favor of a "Canadian Career Killer" gimmick and joined WCW's Team Canada stable with Lance Storm and Elix Skipper. A feud with The Filthy Animals led to Awesome challenging Billy Kidman to a Hair-vs-Hair match, on January 15, however before the bout could take place, Team Canada attacked Kidman backstage, leaving him unable to compete. Kidman's bald stablemate Konnan replaced him and got the win, giving the Animals the right to cut off Awesome's longtime mullet. Awesome then faded into the background, mostly helping Storm in his battles against Ernest "The Cat" Miller. On the final Nitro on March 26, 2001 Awesome and Storm were defeated by Chuck Palumbo and Sean O'Haire in a WCW World Tag Team Championship match.
In an shoot interview released by Highspots in 2003, Awesome conspired that the infamous incident between Vince Russo and Hulk Hogan at Bash at the Beach 2000 may have been one of the underlying reasons as to why he was plagued by a string of unfavorable gimmicks. As a cousin of Michael Bollea (Horace Hogan, who also left WCW following the incident), Awesome suggested that Russo may have thought that he was just "too close of kin" to Hulk Hogan and decided to take it out on him.
World Wrestling Federation/Entertainment (1996, 2001–2002)
He first made a appearance in WWF as a jobber on December 12, 1996 losing to Justin Credible who was known then as Aldo Montoya in a dark match for WWF Superstars of Wrestling.
After the March 2001 purchase of WCW by the World Wrestling Federation (WWF), Awesome became part of The Invasion storyline in the WWF. His WWF debut came on the June 25, 2001 episode of Raw during a match which saw Test defending his Hardcore Championship against Rhyno. After Rhyno Gored Test against a wall and pinned him he stood celebrating his new title only to be attacked by Awesome wielding a metal pipe. He then powerbombed Rhyno onto a ladder and pinned him, becoming champion himself due to the 24/7 rule. Awesome was the first "Invader" to gain gold in the WWF, stealing away with the Hardcore belt before any WWF wrestlers could catch him. Awesome's hardcore reign came to an end a few weeks later on the July 12 edition of SmackDown! when he was pinned by Jeff Hardy, thanks to distraction from Edge.
Awesome defeated Edge on the July 16 episode of Raw.
The feud continued when Edge introduced his tag team partner Christian into the rivalry. Awesome and Lance Storm were defeated by Edge and Christian at Invasion on July 22, Awesome's first WWF pay-per-view match. From here Awesome's push diminished and he began appearing mostly on WWF's b-shows, before being sidelined with an injury in November 2001.
Awesome returned to the SmackDown! brand on the July 27, 2002 edition of Velocity where he was defeated by Tajiri. Awesome was a mainstay on Velocity, SmackDown!'s tertiary show, for the next few months jobbing to wrestlers such as Faarooq, Bull Buchanan, Mark Henry and Funaki.
Awesome was released from the WWE on September 27, 2002 along with Shawn Stasiak and Horace Hogan. Awesome was quoted saying, "Being in the WWE (formerly the WWF) sucked. I hated it. You had to kiss everybody's ass... You had to be on your political toes all the time. You would not believe the backstage politics. You were getting stabbed in the back constantly. I was so happy when I was told I was gone".
Later Career (2002–2006)
From 2002 to 2006, Awesome competed on the independent circuit in the United States and Japan where he returned to All Japan Pro Wrestling as "The Gladiator" once again. On the independent circuit, he had a short stint with Major League Wrestling (MLW) where he won the MLW World Heavyweight Championship from Satoshi Kojima, only to lose it ten minutes later to Steve Corino (Kojima's employers, AJPW would not allow him to drop the title to an employee of a rival company Zero-1).
He worked for Pro Wrestling Noah from 2004 to 2005.
In February 2006, after 17 years in the ring, Awesome announced his retirement from wrestling, saying he wanted to spend more time with his family and adding that he felt underpaid for his work at the One Night Stand event and that he would only return to the ring "if the money was right".
Total Nonstop Action Wrestling (2003)
In April 2003, Awesome debuted in Total Nonstop Action Wrestling. He wrestled several matches for the promotion before leaving in May 2003. His TNA in-ring debut was on April 16, 2003 where Awesome defeated Perry Saturn by DQ when The Sandman and New Jack interfered. On April 23, Awesome teamed with Brian Lee and Slash in a losing effort against Perry Saturn, New Jack and The Sandman. On May 14, Awesome competed in his final TNA match where he lost to Mike Sanders in a Tables Match.
Return to WWE (2005)
Awesome made an appearance at WWE's (formerly the WWF) ECW One Night Stand reunion pay-per-view on June 13, 2005, defeating Masato Tanaka. The crowd greeted Awesome with jeers at the beginning of the match, and commentator Joey Styles made frequent references to Awesome's leaving of ECW for WCW, but by the end the crowd were chanting "this match rules!" and gave both men a standing ovation.
Other media
Alfonso appeared in at least four wrestling video games including ECW Hardcore Revolution, WCW Backstage Assault, Virtual Pro Wrestling 2: Ōdō Keishō, and Fire Pro Wrestling Returns. The ECW toy series manufactured by Original San Francisco Toymakers released a Mike Awesome action figure in 2000. A WCW action figure of Awesome was released by Toy Biz in 2001.
Personal life
Alfonso attended King High School in Tampa, Florida and trained at Stan's Gym, an old school muscle gym, on 56th Street. On May 11, 1991, he married his high school sweetheart Delisa Diann Bowers in Hillsborough, Florida. They had two children together; son Casey (born 1996) and daughter Carissa (born 2000). Alfonso was an avid outdoorsman and enjoyed fishing and trail bike riding with friends and his son. He enjoyed mountain biking and would ride frequently at Alafia River State Park in Florida, close to his Tampa home.
Alfonso was the cousin of Hulk Hogan's nephew Michael Bollea, who was better known for his stint in WCW under the name Horace Hogan. He is no relation of fellow ECW alumnus Bill Alfonso.
After Awesome's retirement from professional wrestling, he served as a real estate agent in New Tampa, Florida.
Death
On February 17, 2007, a group of Alfonso's friends found him dead after he had hung himself inside his Tampa home. He was 42 years old. WWE acknowledged his death on the February 20 broadcast of ECW on Sci-Fi with an "In Memory..." graphic at the opening of the program, and two days later his family received friends at Serenity Meadows Funeral Home in Riverview, Florida.
Championships and accomplishments
Extreme Championship Wrestling
ECW World Heavyweight Championship (2 times)
ECW World Tag Team Championship (1 time) – with Raven
Frontier Martial-Arts Wrestling
FMW Independent World Heavyweight Championship (1 time)
FMW World Brass Knuckles Championship (2 times)
FMW World Brass Knuckles Tag Team Championship (2 times) – with Big Titan (1), and Mr. Pogo (1)
FMW World Street Fight 6-Man Tag Team Championship (1 time) – with Mr. Gannosuke and Hisakatsu Oya
FMW Tag Team Tournament (1991) – with Mr. Pogo
FMW Brass Knuckles Tag Team Championship Tournament (1994) – with Big Titan
Grand Slam Tournament (1995)
FMW World Street Fight 6-Man Tag Team Championship Tournament (1997) – with Hisakatsu Oya and Mr. Gannosuke
Major League Wrestling
MLW World Heavyweight Championship (1 time)
Pro Wrestling Illustrated
Ranked No. 7 of the top 500 singles wrestlers in the PWI 500 in 2000
World Wrestling Federation
WWF Hardcore Championship (1 time)
Wrestling Observer Newsletter
Worst Gimmick (2000)
See also
List of premature professional wrestling deaths
References
External links
1965 births
2007 deaths
2007 suicides
American male professional wrestlers
C. Leon King High School alumni
ECW Heavyweight Champions/ECW World Heavyweight Champions
ECW World Tag Team Champions
Expatriate professional wrestlers in Japan
Sportspeople from Tampa, Florida
Professional wrestlers from Florida
Suicides by hanging in Florida
WWF/WWE Hardcore Champions
American expatriate sportspeople in Japan
| false |
[
"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",
"The World Junior Hockey Championship is played every year from December 26 to January 5, and is a major event on the sporting calendar for many Canadians. Every year Team Canada plays their final Round Robin game on New Year's Eve. In years when the tournament is played in or near Canada, large crowds attend the game. It is also broadcast annually by TSN (English) and RDS (French), attracting large audiences. In years that Canada and the United States are grouped in the same pool, the United States is usually Canada's opponent. If the tournament doesn't schedule games on New Year's Eve, such as in 2002 and 2005, Team Canada will play on December 30 instead. (In 2018, Team Canada's last round-robin game was also December 30; that year, however, the marquee matchup against the United States was held the afternoon of December 29 on the outdoor surface of New Era Field.)\n\nList of games\n\nNotes\n\nReferences\n\nCanada men's national ice hockey team\nWorld Junior Ice Hockey Championships"
] |
[
"Maya civilization",
"Postclassic period (c. 950-1539 AD)"
] |
C_f3af675fc9294dec9e5f837a1620ba95_1
|
Were there any explorers in the Mayan region during this time?
| 1 |
Were there any explorers in the Mayan region during the Postclassic period?
|
Maya civilization
|
The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America. Mesoamerica was one of six cradles of civilization worldwide. The Mesoamerican area gave rise to a series of cultural developments that included complex societies, agriculture, cities, monumental architecture, writing, and calendrical systems. The set of traits shared by Mesoamerican cultures also included astronomical knowledge, blood and human sacrifice, and a cosmovision that viewed the world as divided into four divisions aligned with the cardinal directions, each with different attributes, and a three-way division of the world into the celestial realm, the earth, and the underworld. By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies. The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes. All Mesoamerican cultures used Stone Age technology; after c. 1000 AD copper, silver and gold were worked. Mesoamerica lacked draft animals, did not use the wheel, and possessed few domesticated animals; the principal means of transport was on foot or by canoe. Mesoamericans viewed the world as hostile and governed by unpredictable deities. The ritual Mesoamerican ballgame was widely played. Mesoamerica is linguistically diverse, with most languages falling within a small number of language families - the major families are Mayan, Mixe-Zoquean, Otomanguean, and Uto-Aztecan; there are also a number of smaller families and isolates. The Mesoamerican language area shares a number of important features, including widespread loanwords, and use of a vigesimal number system. The territory of the Maya covered a third of Mesoamerica, and the Maya were engaged in a dynamic relationship with neighbouring cultures that included the Olmecs, Mixtecs, Teotihuacan, the Aztecs, and others. During the Early Classic period, the Maya cities of Tikal and Kaminaljuyu were key Maya foci in a network that extended beyond the Maya area into the highlands of central Mexico. At around the same time, there was a strong Maya presence at the Tetitla compound of Teotihuacan. Centuries later, during the 9th century AD, murals at Cacaxtla, another site in the central Mexican highlands, were painted in a Maya style. This may have been either an effort to align itself with the still-powerful Maya area after the collapse of Teotihuacan and ensuing political fragmentation in the Mexican Highlands, or an attempt to express a distant Maya origin of the inhabitants. The Maya city of Chichen Itza and the distant Toltec capital of Tula had an especially close relationship. The Maya developed their first civilization in the Preclassic period. Scholars continue to discuss when this era of Maya civilization began. Maya occupation at Cuello (modern-day Belize) has been carbon dated to around 2600 BC. Settlements were established around 1800 BC in the Soconusco region of the Pacific coast, and the Maya were already cultivating the staple crops of maize, beans, squash, and chili pepper. This period was characterized by sedentary communities and the introduction of pottery and fired clay figurines. During the Middle Preclassic Period, small villages began to grow to form cities. Nakbe in the Peten department of Guatemala is the earliest well-documented city in the Maya lowlands, where large structures have been dated to around 750 BC. The northern lowlands of Yucatan were widely settled by the Middle Preclassic. By approximately 400 BC, early Maya rulers were raising stelae. A developed script was already being used in Peten by the 3rd century BC. In the Late Preclassic Period, the enormous city of El Mirador grew to cover approximately 16 square kilometres (6.2 sq mi). Although not as large, Tikal was already a significant city by around 350 BC. In the highlands, Kaminaljuyu emerged as a principal centre in the Late Preclassic. Takalik Abaj and Chocola were two of the most important cities on the Pacific coastal plain, and Komchen grew to become an important site in northern Yucatan. The Late Preclassic cultural florescence collapsed in the 1st century AD and many of the great Maya cities of the epoch were abandoned; the cause of this collapse is unknown. Although much reduced, a significant Maya presence remained into the Postclassic period after the abandonment of the major Classic period cities; the population was particularly concentrated near permanent water sources. Unlike during previous cycles of contraction in the Maya region, abandoned lands were not quickly resettled in the Postclassic. Activity shifted to the northern lowlands and the Maya Highlands; this may have involved migration from the southern lowlands, because many Postclassic Maya groups had migration myths. Chichen Itza and its Puuc neighbours declined dramatically in the 11th century, and this may represent the final episode of Classic Period collapse. After the decline of Chichen Itza, the Maya region lacked a dominant power until the rise of the city of Mayapan in the 12th century. New cities arose near the Caribbean and Gulf coasts, and new trade networks were formed. The Postclassic Period was marked by changes from the preceding Classic Period. The once-great city of Kaminaljuyu in the Valley of Guatemala was abandoned after continuous occupation of almost 2,000 years. Across the highlands and neighbouring Pacific coast, long-occupied cities in exposed locations were relocated, apparently due to a proliferation of warfare. Cities came to occupy more-easily defended hilltop locations surrounded by deep ravines, with ditch-and-wall defences sometimes supplementing the protection provided by the natural terrain. One of the most important cities in the Guatemalan Highlands at this time was Q'umarkaj, the capital of the aggressive K'iche' kingdom. The government of Maya states, from the Yucatan to the Guatemalan highlands, was often organized as joint rule by a council. However, in practice one member of the council could act as a supreme ruler, while the other members served him as advisors. Mayapan was abandoned around 1448, after a period of political, social and environmental turbulence that in many ways echoed the Classic period collapse in the southern Maya region. The abandonment of the city was followed by a period of prolonged warfare, disease and natural disasters in the Yucatan Peninsula, which ended only shortly before Spanish contact in 1511. Even without a dominant regional capital, the early Spanish explorers reported wealthy coastal cities and thriving marketplaces. During the Late Postclassic, the Yucatan Peninsula was divided into a number of independent provinces that shared a common culture but varied in internal sociopolitical organization. On the eve of the Spanish conquest, the highlands of Guatemala were dominated by several powerful Maya states. The K'iche' had carved out a small empire covering a large part of the western Guatemalan Highlands and the neighbouring Pacific coastal plain. However, in the decades before the Spanish invasion the Kaqchikel kingdom had been steadily eroding the kingdom of the K'iche'. CANNOTANSWER
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The Maya civilization () was a Mesoamerican civilization developed by the Maya peoples, and noted for its logosyllabic script—the most sophisticated and highly developed writing system in pre-Columbian Americas—as well as for its art, architecture, mathematics, calendar, and astronomical system. The Maya civilization developed in the area that today comprises southeastern Mexico, all of Guatemala and Belize, and the western portions of Honduras and El Salvador. It includes the northern lowlands of the Yucatán Peninsula and the highlands of the Sierra Madre, the Mexican state of Chiapas, southern Guatemala, El Salvador, and the southern lowlands of the Pacific littoral plain. "Maya" is a modern term used to refer collectively to the various peoples that inhabited this area. They did not call themselves "Maya" and did not have a sense of common identity or political unity. Today, their descendants, known collectively as the Maya, number well over 6 million individuals, speak more than twenty-eight surviving Mayan languages, and reside in nearly the same area as their ancestors.
The Archaic period, before 2000 BC, saw the first developments in agriculture and the earliest villages. The Preclassic period () saw the establishment of the first complex societies in the Maya region, and the cultivation of the staple crops of the Maya diet, including maize, beans, squashes, and chili peppers. The first Maya cities developed around 750 BC, and by 500 BC these cities possessed monumental architecture, including large temples with elaborate stucco façades. Hieroglyphic writing was being used in the Maya region by the 3rd century BC. In the Late Preclassic a number of large cities developed in the Petén Basin, and the city of Kaminaljuyu rose to prominence in the Guatemalan Highlands. Beginning around 250 AD, the Classic period is largely defined as when the Maya were raising sculpted monuments with Long Count dates. This period saw the Maya civilization develop many city-states linked by a complex trade network. In the Maya Lowlands two great rivals, the cities of Tikal and Calakmul, became powerful. The Classic period also saw the intrusive intervention of the central Mexican city of Teotihuacan in Maya dynastic politics. In the 9th century, there was a widespread political collapse in the central Maya region, resulting in internecine warfare, the abandonment of cities, and a northward shift of population. The Postclassic period saw the rise of Chichen Itza in the north, and the expansion of the aggressive Kʼicheʼ kingdom in the Guatemalan Highlands. In the 16th century, the Spanish Empire colonised the Mesoamerican region, and a lengthy series of campaigns saw the fall of Nojpetén, the last Maya city, in 1697.
Rule during the Classic period centred on the concept of the "divine king", who was thought to act as a mediator between mortals and the supernatural realm. Kingship was patrilineal, and power normally passed to the eldest son. A prospective king was expected to be a successful war leader as well as a ruler. Closed patronage systems were the dominant force in Maya politics, although how patronage affected the political makeup of a kingdom varied from city-state to city-state. By the Late Classic period, the aristocracy had grown in size, reducing the previously exclusive power of the king. The Maya developed sophisticated art forms using both perishable and non-perishable materials, including wood, jade, obsidian, ceramics, sculpted stone monuments, stucco, and finely painted murals.
Maya cities tended to expand organically. The city centers comprised ceremonial and administrative complexes, surrounded by an irregularly shaped sprawl of residential districts. Different parts of a city were often linked by causeways. Architecturally, city buildings included palaces, pyramid-temples, ceremonial ballcourts, and structures specially aligned for astronomical observation. The Maya elite were literate, and developed a complex system of hieroglyphic writing. Theirs was the most advanced writing system in the pre-Columbian Americas. The Maya recorded their history and ritual knowledge in screenfold books, of which only three uncontested examples remain, the rest having been destroyed by the Spanish. In addition, a great many examples of Maya texts can be found on stelae and ceramics. The Maya developed a highly complex series of interlocking ritual calendars, and employed mathematics that included one of the earliest known instances of the explicit zero in human history. As a part of their religion, the Maya practised human sacrifice.
Mesoamerica
The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America. Mesoamerica was one of six cradles of civilization worldwide. The Mesoamerican area gave rise to a series of cultural developments that included complex societies, agriculture, cities, monumental architecture, writing, and calendrical systems. The set of traits shared by Mesoamerican cultures also included astronomical knowledge, blood and human sacrifice, and a cosmovision that viewed the world as divided into four divisions aligned with the cardinal directions, each with different attributes, and a three-way division of the world into the celestial realm, the earth, and the underworld.
By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies. The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes. All Mesoamerican cultures used Stone Age technology; after c. 1000 AD copper, silver and gold were worked. Mesoamerica lacked draft animals, did not use the wheel, and possessed few domesticated animals; the principal means of transport was on foot or by canoe. Mesoamericans viewed the world as hostile and governed by unpredictable deities. The ritual Mesoamerican ballgame was widely played. Mesoamerica is linguistically diverse, with most languages falling within a small number of language families—the major families are Mayan, Mixe–Zoquean, Otomanguean, and Uto-Aztecan; there are also a number of smaller families and isolates. The Mesoamerican language area shares a number of important features, including widespread loanwords, and use of a vigesimal number system.
The territory of the Maya covered a third of Mesoamerica, and the Maya were engaged in a dynamic relationship with neighbouring cultures that included the Olmecs, Mixtecs, Teotihuacan, the Aztecs, and others. During the Early Classic period, the Maya cities of Tikal and Kaminaljuyu were key Maya foci in a network that extended beyond the Maya area into the highlands of central Mexico. At around the same time, there was a strong Maya presence at the Tetitla compound of Teotihuacan. Centuries later, during the 9th century AD, murals at Cacaxtla, another site in the central Mexican highlands, were painted in a Maya style. This may have been either an effort to align itself with the still-powerful Maya area after the collapse of Teotihuacan and ensuing political fragmentation in the Mexican Highlands, or an attempt to express a distant Maya origin of the inhabitants. The Maya city of Chichen Itza and the distant Toltec capital of Tula had an especially close relationship.
Geography
The Maya civilization occupied a wide territory that included southeastern Mexico and northern Central America. This area included the entire Yucatán Peninsula and all of the territory now incorporated into the modern countries of Guatemala and Belize, as well as the western portions of Honduras and El Salvador. Most of the peninsula is formed by a vast plain with few hills or mountains and a generally low coastline.
The Petén region consists of densely forested low-lying limestone plain; a chain of fourteen lakes runs across the central drainage basin of Petén. To the south the plain gradually rises towards the Guatemalan Highlands. Dense forest covers northern Petén and Belize, most of Quintana Roo, southern Campeche, and a portion of the south of Yucatán state. Farther north, the vegetation turns to lower forest consisting of dense scrub.
The littoral zone of Soconusco lies to the south of the Sierra Madre de Chiapas, and consists of a narrow coastal plain and the foothills of the Sierra Madre. The Maya highlands extend eastwards from Chiapas into Guatemala, reaching their highest in the Sierra de los Cuchumatanes. The major pre-Columbian population centres of the highlands were located in the largest highland valleys, such as the Valley of Guatemala and the Quetzaltenango Valley. In the southern highlands, a belt of volcanic cones runs parallel to the Pacific coast. The highlands extend northwards into Verapaz, and gradually descend to the east.
History
The history of Maya civilization is divided into three principal periods: the Preclassic, Classic, and Postclassic periods. These were preceded by the Archaic Period, during which the first settled villages and early developments in agriculture emerged. Modern scholars regard these periods as arbitrary divisions of Maya chronology, rather than indicative of cultural evolution or decline. Definitions of the start and end dates of period spans can vary by as much as a century, depending on the author.
Preclassic period (c. 2000 BC – 250 AD)
The Maya developed their first civilization in the Preclassic period. Scholars continue to discuss when this era of Maya civilization began. Maya occupation at Cuello (modern-day Belize) has been carbon dated to around 2600 BC. Settlements were established around 1800 BC in the Soconusco region of the Pacific coast, and the Maya were already cultivating the staple crops of maize, beans, squash, and chili pepper. This period was characterised by sedentary communities and the introduction of pottery and fired clay figurines.
During the Middle Preclassic Period, small villages began to grow to form cities. Nakbe in the Petén department of Guatemala is the earliest well-documented city in the Maya lowlands, where large structures have been dated to around 750 BC. The northern lowlands of Yucatán were widely settled by the Middle Preclassic. By approximately 400 BC, early Maya rulers were raising stelae. A developed script was already being used in Petén by the 3rd century BC. In the Late Preclassic Period, the enormous city of El Mirador grew to cover approximately . Although not as large, Tikal was already a significant city by around 350 BC.
In the highlands, Kaminaljuyu emerged as a principal centre in the Late Preclassic. Takalik Abaj and Chocolá were two of the most important cities on the Pacific coastal plain, and Komchen grew to become an important site in northern Yucatán. The Late Preclassic cultural florescence collapsed in the 1st century AD and many of the great Maya cities of the epoch were abandoned; the cause of this collapse is unknown.
Classic period (c. 250–900 AD)
The Classic period is largely defined as the period during which the lowland Maya raised dated monuments using the Long Count calendar. This period marked the peak of large-scale construction and urbanism, the recording of monumental inscriptions, and demonstrated significant intellectual and artistic development, particularly in the southern lowland regions. The Classic period Maya political landscape has been likened to that of Renaissance Italy or Classical Greece, with multiple city-states engaged in a complex network of alliances and enmities. The largest cities had populations numbering 50,000 to 120,000 and were linked to networks of subsidiary sites.
During the Early Classic, cities throughout the Maya region were influenced by the great metropolis of Teotihuacan in the distant Valley of Mexico. In AD 378, Teotihuacan decisively intervened at Tikal and other nearby cities, deposed their rulers, and installed a new Teotihuacan-backed dynasty. This intervention was led by Siyaj Kʼakʼ ("Born of Fire"), who arrived at Tikal in early 378. The king of Tikal, Chak Tok Ichʼaak I, died on the same day, suggesting a violent takeover. A year later, Siyaj Kʼakʼ oversaw the installation of a new king, Yax Nuun Ahiin I. The installation of the new dynasty led to a period of political dominance when Tikal became the most powerful city in the central lowlands.
Tikal's great rival was Calakmul, another powerful city in the Petén Basin. Tikal and Calakmul both developed extensive systems of allies and vassals; lesser cities that entered one of these networks gained prestige from their association with the top-tier city, and maintained peaceful relations with other members of the same network. Tikal and Calakmul engaged in the manoeuvering of their alliance networks against each other. At various points during the Classic period, one or other of these powers would gain a strategic victory over its great rival, resulting in respective periods of florescence and decline.
In 629, Bʼalaj Chan Kʼawiil, a son of the Tikal king Kʼinich Muwaan Jol II, was sent to found a new city at Dos Pilas, in the Petexbatún region, apparently as an outpost to extend Tikal's power beyond the reach of Calakmul. For the next two decades he fought loyally for his brother and overlord at Tikal. In 648, king Yuknoom Chʼeen II of Calakmul captured Balaj Chan Kʼawiil. Yuknoom Chʼeen II then reinstated Balaj Chan Kʼawiil upon the throne of Dos Pilas as his vassal. He thereafter served as a loyal ally of Calakmul.
In the southeast, Copán was the most important city. Its Classic-period dynasty was founded in 426 by Kʼinich Yax Kʼukʼ Moʼ. The new king had strong ties with central Petén and Teotihuacan. Copán reached the height of its cultural and artistic development during the rule of Uaxaclajuun Ubʼaah Kʼawiil, who ruled from 695 to 738. His reign ended catastrophically when he was captured by his vassal, king Kʼakʼ Tiliw Chan Yopaat of Quiriguá. The captured lord of Copán was taken back to Quiriguá and was decapitated in a public ritual. It is likely that this coup was backed by Calakmul, in order to weaken a powerful ally of Tikal. Palenque and Yaxchilan were the most powerful cities in the Usumacinta region. In the highlands, Kaminaljuyu in the Valley of Guatemala was already a sprawling city by 300. In the north of the Maya area, Coba was the most important capital.
Classic Maya collapse
During the 9th century AD, the central Maya region suffered major political collapse, marked by the abandonment of cities, the ending of dynasties, and a northward shift in activity. No universally accepted theory explains this collapse, but it likely had a combination of causes, including endemic internecine warfare, overpopulation resulting in severe environmental degradation, and drought. During this period, known as the Terminal Classic, the northern cities of Chichen Itza and Uxmal showed increased activity. Major cities in the northern Yucatán Peninsula continued to be inhabited long after the cities of the southern lowlands ceased to raise monuments.
Classic Maya social organization was based on the ritual authority of the ruler, rather than central control of trade and food distribution. This model of rulership was poorly structured to respond to changes, because the ruler's actions were limited by tradition to such activities as construction, ritual, and warfare. This only served to exacerbate systemic problems. By the 9th and 10th centuries, this resulted in collapse of this system of rulership. In the northern Yucatán, individual rule was replaced by a ruling council formed from elite lineages. In the southern Yucatán and central Petén, kingdoms declined; in western Petén and some other areas, the changes were catastrophic and resulted in the rapid depopulation of cities. Within a couple of generations, large swathes of the central Maya area were all but abandoned. Both the capitals and their secondary centres were generally abandoned within a period of 50 to 100 years. One by one, cities stopped sculpting dated monuments; the last Long Count date was inscribed at Toniná in 909. Stelae were no longer raised, and squatters moved into abandoned royal palaces. Mesoamerican trade routes shifted and bypassed Petén.
Postclassic period (c. 950–1539 AD)
Although much reduced, a significant Maya presence remained into the Postclassic period after the abandonment of the major Classic period cities; the population was particularly concentrated near permanent water sources. Unlike during previous cycles of contraction in the Maya region, abandoned lands were not quickly resettled in the Postclassic. Activity shifted to the northern lowlands and the Maya Highlands; this may have involved migration from the southern lowlands, because many Postclassic Maya groups had migration myths. Chichen Itza and its Puuc neighbours declined dramatically in the 11th century, and this may represent the final episode of Classic Period collapse. After the decline of Chichen Itza, the Maya region lacked a dominant power until the rise of the city of Mayapan in the 12th century. New cities arose near the Caribbean and Gulf coasts, and new trade networks were formed.
The Postclassic Period was marked by changes from the preceding Classic Period. The once-great city of Kaminaljuyu in the Valley of Guatemala was abandoned after continuous occupation of almost 2,000 years. Across the highlands and neighbouring Pacific coast, long-occupied cities in exposed locations were relocated, apparently due to a proliferation of warfare. Cities came to occupy more-easily defended hilltop locations surrounded by deep ravines, with ditch-and-wall defences sometimes supplementing the protection provided by the natural terrain. One of the most important cities in the Guatemalan Highlands at this time was Qʼumarkaj, the capital of the aggressive Kʼicheʼ kingdom. The government of Maya states, from the Yucatán to the Guatemalan highlands, was often organised as joint rule by a council. However, in practice one member of the council could act as a supreme ruler, while the other members served him as advisors.
Mayapan was abandoned around 1448, after a period of political, social and environmental turbulence that in many ways echoed the Classic period collapse in the southern Maya region. The abandonment of the city was followed by a period of prolonged warfare, disease and natural disasters in the Yucatán Peninsula, which ended only shortly before Spanish contact in 1511. Even without a dominant regional capital, the early Spanish explorers reported wealthy coastal cities and thriving marketplaces. During the Late Postclassic, the Yucatán Peninsula was divided into a number of independent provinces that shared a common culture but varied in internal sociopolitical organization. On the eve of the Spanish conquest, the highlands of Guatemala were dominated by several powerful Maya states. The Kʼicheʼ had carved out a small empire covering a large part of the western Guatemalan Highlands and the neighbouring Pacific coastal plain. However, in the decades before the Spanish invasion the Kaqchikel kingdom had been steadily eroding the kingdom of the Kʼicheʼ.
Contact period and Spanish conquest (1511–1697 AD)
In 1511, a Spanish caravel was wrecked in the Caribbean, and about a dozen survivors made landfall on the coast of Yucatán. They were seized by a Maya lord, and most were sacrificed, although two managed to escape. From 1517 to 1519, three separate Spanish expeditions explored the Yucatán coast, and engaged in a number of battles with the Maya inhabitants. After the Aztec capital Tenochtitlan fell to the Spanish in 1521, Hernán Cortés despatched Pedro de Alvarado to Guatemala with 180 cavalry, 300 infantry, 4 cannons, and thousands of allied warriors from central Mexico; they arrived in Soconusco in 1523. The Kʼicheʼ capital, Qʼumarkaj, fell to Alvarado in 1524. Shortly afterwards, the Spanish were invited as allies into Iximche, the capital city of the Kaqchikel Maya. Good relations did not last, due to excessive Spanish demands for gold as tribute, and the city was abandoned a few months later. This was followed by the fall of Zaculeu, the Mam Maya capital, in 1525. Francisco de Montejo and his son, Francisco de Montejo the Younger, launched a long series of campaigns against the polities of the Yucatán Peninsula in 1527, and finally completed the conquest of the northern portion of the peninsula in 1546. This left only the Maya kingdoms of the Petén Basin independent. In 1697, Martín de Ursúa launched an assault on the Itza capital Nojpetén and the last independent Maya city fell to the Spanish.
Persistence of Maya culture
The Spanish conquest stripped away most of the defining features of Maya civilization. However, many Maya villages remained remote from Spanish colonial authority, and for the most part continued to manage their own affairs. Maya communities and the nuclear family maintained their traditional day-to-day life. The basic Mesoamerican diet of maize and beans continued, although agricultural output was improved by the introduction of steel tools. Traditional crafts such as weaving, ceramics, and basketry continued to be practised. Community markets and trade in local products continued long after the conquest. At times, the colonial administration encouraged the traditional economy in order to extract tribute in the form of ceramics or cotton textiles, although these were usually made to European specifications. Maya beliefs and language proved resistant to change, despite vigorous efforts by Catholic missionaries. The 260-day tzolkʼin ritual calendar continues in use in modern Maya communities in the highlands of Guatemala and Chiapas, and millions of Mayan-language speakers inhabit the territory in which their ancestors developed their civilization.
Investigation of Maya civilization
The agents of the Catholic Church wrote detailed accounts of the Maya, in support of their efforts at Christianization, and absorption of the Maya into the Spanish Empire. This was followed by various Spanish priests and colonial officials who left descriptions of ruins they visited in Yucatán and Central America. In 1839, American traveller and writer John Lloyd Stephens set out to visit a number of Maya sites with English architect and draftsman Frederick Catherwood. Their illustrated accounts of the ruins sparked strong popular interest, and brought the Maya to the attention of the world. The later 19th century saw the recording and recovery of ethnohistoric accounts of the Maya, and the first steps in deciphering Maya hieroglyphs.
The final two decades of the 19th century saw the birth of modern scientific archaeology in the Maya region, with the meticulous work of Alfred Maudslay and Teoberto Maler. By the early 20th century, the Peabody Museum was sponsoring excavations at Copán and in the Yucatán Peninsula. In the first two decades of the 20th century, advances were made in deciphering the Maya calendar, and identifying deities, dates, and religious concepts. Since the 1930s, archaeological exploration increased dramatically, with large-scale excavations across the Maya region.
In the 1960s, the distinguished Mayanist J. Eric S. Thompson promoted the ideas that Maya cities were essentially vacant ceremonial centres serving a dispersed population in the forest, and that the Maya civilization was governed by peaceful astronomer-priests. These ideas began to collapse with major advances in the decipherment of the script in the late 20th century, pioneered by Heinrich Berlin, Tatiana Proskouriakoff, and Yuri Knorozov. With breakthroughs in understanding of Maya script since the 1950s, the texts revealed the warlike activities of the Classic Maya kings, and the view of the Maya as peaceful could no longer be supported.
Politics
Unlike the Aztecs and the Inca, the Maya political system never integrated the entire Maya cultural area into a single state or empire. Rather, throughout its history, the Maya area contained a varying mix of political complexity that included both states and chiefdoms. These polities fluctuated greatly in their relationships with each other and were engaged in a complex web of rivalries, periods of dominance or submission, vassalage, and alliances. At times, different polities achieved regional dominance, such as Calakmul, Caracol, Mayapan, and Tikal. The first reliably evidenced polities formed in the Maya lowlands in the 9th century BC.
During the Late Preclassic, the Maya political system coalesced into a theopolitical form, where elite ideology justified the ruler's authority, and was reinforced by public display, ritual, and religion. The divine king was the centre of political power, exercising ultimate control over the administrative, economic, judicial, and military functions of the polity. The divine authority invested within the ruler was such that the king was able to mobilize both the aristocracy and commoners in executing huge infrastructure projects, apparently with no police force or standing army. Some polities engaged in a strategy of increasing administration, and filling administrative posts with loyal supporters rather than blood relatives. Within a polity, mid-ranking population centres would have played a key role in managing resources and internal conflict.
The Maya political landscape was highly complex and Maya elites engaged in political intrigue to gain economic and social advantage over neighbours. In the Late Classic, some cities established a long period of dominance over other large cities, such as the dominance of Caracol over Naranjo for half a century. In other cases, loose alliance networks were formed around a dominant city. Border settlements, usually located about halfway between neighbouring capitals, often switched allegiance over the course of their history, and at times acted independently. Dominant capitals exacted tribute in the form of luxury items from subjugated population centres. Political power was reinforced by military power, and the capture and humiliation of enemy warriors played an important part in elite culture. An overriding sense of pride and honour among the warrior aristocracy could lead to extended feuds and vendettas, which caused political instability and the fragmentation of polities.
Society
From the Early Preclassic, Maya society was sharply divided between the elite and commoners. As population increased over time, various sectors of society became increasingly specialised, and political organization became increasingly complex. By the Late Classic, when populations had grown enormously and hundreds of cities were connected in a complex web of political hierarchies, the wealthy segment of society multiplied. A middle class may have developed that included artisans, low ranking priests and officials, merchants, and soldiers. Commoners included farmers, servants, labourers, and slaves. According to indigenous histories, land was held communally by noble houses or clans. Such clans held that the land was the property of the clan ancestors, and such ties between the land and the ancestors were reinforced by the burial of the dead within residential compounds.
King and court
Classic Maya rule was centred in a royal culture that was displayed in all areas of Classic Maya art. The king was the supreme ruler and held a semi-divine status that made him the mediator between the mortal realm and that of the gods. From very early times, kings were specifically identified with the young maize god, whose gift of maize was the basis of Mesoamerican civilization. Maya royal succession was patrilineal, and royal power only passed to queens when doing otherwise would result in the extinction of the dynasty. Typically, power was passed to the eldest son. A young prince was called a chʼok ("youth"), although this word later came to refer to nobility in general. The royal heir was called bʼaah chʼok ("head youth"). Various points in the young prince's childhood were marked by ritual; the most important was a bloodletting ceremony at age five or six years. Although being of the royal bloodline was of utmost importance, the heir also had to be a successful war leader, as demonstrated by taking of captives. The enthronement of a new king was a highly elaborate ceremony, involving a series of separate acts that included enthronement upon a jaguar-skin cushion, human sacrifice, and receiving the symbols of royal power, such as a headband bearing a jade representation of the so-called "jester god", an elaborate headdress adorned with quetzal feathers, and a sceptre representing the god Kʼawiil.
Maya political administration, based around the royal court, was not bureaucratic in nature. Government was hierarchical, and official posts were sponsored by higher-ranking members of the aristocracy; officials tended to be promoted to higher levels of office during the course of their lives. Officials are referred to as being "owned" by their sponsor, and this relationship continued even after the death of the sponsor. The Maya royal court was a vibrant and dynamic political institution. There was no universal structure for the Maya royal court, instead each polity formed a royal court that was suited to its own individual context. A number of royal and noble titles have been identified by epigraphers translating Classic Maya inscriptions. Ajaw is usually translated as "lord" or "king". In the Early Classic, an ajaw was the ruler of a city. Later, with increasing social complexity, the ajaw was a member of the ruling class and a major city could have more than one, each ruling over different districts. Paramount rulers distinguished themselves from the extended nobility by prefixing the word kʼuhul to their ajaw title. A kʼuhul ajaw was "divine lord", originally confined to the kings of the most prestigious and ancient royal lines. Kalomte was a royal title, whose exact meaning is not yet deciphered, but it was held only by the most powerful kings of the strongest dynasties. It indicated an overlord, or high king, and the title was only in use during the Classic period. By the Late Classic, the absolute power of the kʼuhul ajaw had weakened, and the political system had diversified to include a wider aristocracy, that by this time may well have expanded disproportionately.
A sajal was ranked below the ajaw, and indicated a subservient lord. A sajal would be lord of a second- or third-tier site, answering to an ajaw, who may himself have been subservient to a kalomte. A sajal would often be a war captain or regional governor, and inscriptions often link the sajal title to warfare; they are often mentioned as the holders of war captives. Sajal meant "feared one". The titles of ah tzʼihb and ah chʼul hun are both related to scribes. The ah tzʼihb was a royal scribe, usually a member of the royal family; the ah chʼul hun was the Keeper of the Holy Books, a title that is closely associated with the ajaw title, indicating that an ajaw always held the ah chʼul hun title simultaneously. Other courtly titles, the functions of which are not well understood, were yajaw kʼahk''' ("Lord of Fire"), tiʼhuun and ti'sakhuun. These last two may be variations on the same title, and Mark Zender has suggested that the holder of this title may have been the spokesman for the ruler. Courtly titles are overwhelmingly male-oriented, and in those relatively rare occasions where they are applied to a woman, they appear to be used as honorifics for female royalty. Titled elites were often associated with particular structures in the hieroglyphic inscriptions of Classic period cities, indicating that such office holders either owned that structure, or that the structure was an important focus for their activities. A lakam, or standard-bearer, was possibly the only non-elite post-holder in the royal court. The lakam was only found in larger sites, and they appear to have been responsible for the taxation of local districts.
Different factions may have existed in the royal court. The kʼuhul ahaw and his household would have formed the central power-base, but other important groups were the priesthood, the warrior aristocracy, and other aristocratic courtiers. Where ruling councils existed, as at Chichen Itza and Copán, these may have formed an additional faction. Rivalry between different factions would have led to dynamic political institutions as compromises and disagreements were played out. In such a setting, public performance was vital. Such performances included ritual dances, presentation of war captives, offerings of tribute, human sacrifice, and religious ritual.
Commoners
Commoners are estimated to have comprised over 90% of the population, but relatively little is known about them. Their houses were generally constructed from perishable materials, and their remains have left little trace in the archaeological record. Some commoner dwellings were raised on low platforms, and these can be identified, but an unknown quantity of commoner houses were not. Such low-status dwellings can only be detected by extensive remote-sensing surveys of apparently empty terrain. The range of commoners was broad; it consisted of everyone not of noble birth, and therefore included everyone from the poorest farmers to wealthy craftsmen and commoners appointed to bureaucratic positions. Commoners engaged in essential production activities, including that of products destined for use by the elite, such as cotton and cacao, as well as subsistence crops for their own use, and utilitarian items such as ceramics and stone tools. Commoners took part in warfare, and could advance socially by proving themselves as outstanding warriors. Commoners paid taxes to the elite in the form of staple goods such as maize, flour and game. It is likely that hard-working commoners who displayed exceptional skills and initiative could become influential members of Maya society.
Warfare
Warfare was prevalent in the Maya world. Military campaigns were launched for a variety of reasons, including the control of trade routes and tribute, raids to take captives, scaling up to the complete destruction of an enemy state. Little is known about Maya military organization, logistics, or training. Warfare is depicted in Maya art from the Classic period, and wars and victories are mentioned in hieroglyphic inscriptions. Unfortunately, the inscriptions do not provide information upon the causes of war, or the form it took. In the 8th–9th centuries, intensive warfare resulted in the collapse of the kingdoms of the Petexbatún region of western Petén. The rapid abandonment of Aguateca by its inhabitants has provided a rare opportunity to examine the remains of Maya weaponry in situ. Aguateca was stormed by unknown enemies around 810 AD, who overcame its formidable defences and burned the royal palace. The elite inhabitants of the city either fled or were captured, and never returned to collect their abandoned property. The inhabitants of the periphery abandoned the site soon after. This is an example of intensive warfare carried out by an enemy in order to eliminate a Maya state, rather than subjugate it. Research at Aguateca indicated that Classic period warriors were primarily members of the elite.
From as early as the Preclassic period, the ruler of a Maya polity was expected to be a distinguished war leader, and was depicted with trophy heads hanging from his belt. In the Classic period, such trophy heads no longer appeared on the king's belt, but Classic period kings are frequently depicted standing over humiliated war captives. Right up to the end of the Postclassic period, Maya kings led as war captains. Maya inscriptions from the Classic show that a defeated king could be captured, tortured, and sacrificed. The Spanish recorded that Maya leaders kept track of troop movements in painted books.
The outcome of a successful military campaign could vary in its impact on the defeated polity. In some cases, entire cities were sacked, and never resettled, as at Aguateca. In other instances, the victors would seize the defeated rulers, their families, and patron gods. The captured nobles and their families could be imprisoned, or sacrificed. At the least severe end of the scale, the defeated polity would be obliged to pay tribute to the victor.
Warriors
During the Contact period, it is known that certain military positions were held by members of the aristocracy, and were passed on by patrilineal succession. It is likely that the specialised knowledge inherent in the particular military role was taught to the successor, including strategy, ritual, and war dances. Maya armies of the Contact period were highly disciplined, and warriors participated in regular training exercises and drills; every able-bodied adult male was available for military service. Maya states did not maintain standing armies; warriors were mustered by local officials who reported back to appointed warleaders. There were also units of full-time mercenaries who followed permanent leaders. Most warriors were not full-time, however, and were primarily farmers; the needs of their crops usually came before warfare. Maya warfare was not so much aimed at destruction of the enemy as the seizure of captives and plunder.
There is some evidence from the Classic period that women provided supporting roles in war, but they did not act as military officers with the exception of those rare ruling queens. By the Postclassic, the native chronicles suggest that women occasionally fought in battle.
Weapons
The atlatl (spear-thrower) was introduced to the Maya region by Teotihuacan in the Early Classic. This was a stick with a notched end to hold a dart or javelin. The stick was used to launch the missile with more force and accuracy than could be accomplished by simply hurling it with the arm alone. Evidence in the form of stone blade points recovered from Aguateca indicate that darts and spears were the primary weapons of the Classic Maya warrior. Commoners used blowguns in war, which also served as their hunting weapon. The bow and arrow is another weapon that was used by the ancient Maya for both war and hunting. Although present in the Maya region during the Classic period, its use as a weapon of war was not favoured; it did not become a common weapon until the Postclassic. The Contact period Maya also used two-handed swords crafted from strong wood with the blade fashioned from inset obsidian, similar to the Aztec macuahuitl. Maya warriors wore body armour in the form of quilted cotton that had been soaked in salt water to toughen it; the resulting armour compared favourably to the steel armour worn by the Spanish when they conquered the region. Warriors bore wooden or animal hide shields decorated with feathers and animal skins.
Trade
Trade was a key component of Maya society, and in the development of the Maya civilization. The cities that grew to become the most important usually controlled access to vital trade goods, or portage routes. Cities such as Kaminaljuyu and Qʼumarkaj in the Guatemalan Highlands, and Chalchuapa in El Salvador, variously controlled access to the sources of obsidian at different points in Maya history. The Maya were major producers of cotton, which was used to make the textiles to be traded throughout Mesoamerica. The most important cities in the northern Yucatán Peninsula controlled access to the sources of salt. In the Postclassic, the Maya engaged in a flourishing slave trade with wider Mesoamerica.
The Maya engaged in long-distance trade across the Maya region, and across greater Mesoamerica and beyond. As an illustration, an Early Classic Maya merchant quarter has been identified at the distant metropolis of Teotihuacan, in central Mexico. Within Mesoamerica beyond the Maya area, trade routes particularly focused on central Mexico and the Gulf coast. In the Early Classic, Chichen Itza was at the hub of an extensive trade network that imported gold discs from Colombia and Panama, and turquoise from Los Cerrillos, New Mexico. Long-distance trade of both luxury and utilitarian goods was probably controlled by the royal family. Prestige goods obtained by trade were used both for consumption by the city's ruler, and as luxury gifts to consolidate the loyalty of vassals and allies.
Trade routes not only supplied physical goods, they facilitated the movement of people and ideas throughout Mesoamerica. Shifts in trade routes occurred with the rise and fall of important cities in the Maya region, and have been identified in every major reorganization of the Maya civilization, such as the rise of Preclassic Maya civilization, the transition to the Classic, and the Terminal Classic collapse. Even the Spanish Conquest did not immediately terminate all Maya trading activity; for example, the Contact period Manche Chʼol traded the prestige crops of cacao, annatto and vanilla into colonial Verapaz.
Merchants
Little is known of Maya merchants, although they are depicted on Maya ceramics in elaborate noble dress. From this, it is known that at least some traders were members of the elite. During the Contact period, it is known that Maya nobility took part in long-distance trading expeditions. The majority of traders were middle class, but were largely engaged in local and regional trade rather than the prestigious long-distance trading that was the preserve of the elite. The travelling of merchants into dangerous foreign territory was likened to a passage through the underworld; the patron deities of merchants were two underworld gods carrying backpacks. When merchants travelled, they painted themselves black, like their patron gods, and went heavily armed.
The Maya had no pack animals, so all trade goods were carried on the backs of porters when going overland; if the trade route followed a river or the coast, then goods were transported in canoes. A substantial Maya trading canoe was encountered off Honduras on Christopher Columbus's fourth voyage. It was made from a large hollowed-out tree trunk and had a palm-covered canopy. The canoe was broad and was powered by 25 rowers. Trade goods carried included cacao, obsidian, ceramics, textiles, food and drink for the crew, and copper bells and axes. Cacao was used as currency (although not exclusively), and its value was such that counterfeiting occurred by removing the flesh from the pod, and stuffing it with dirt or avocado rind.
Marketplaces
Marketplaces are difficult to identify archaeologically. However, the Spanish reported a thriving market economy when they arrived in the region. At some Classic period cities, archaeologists have tentatively identified formal arcade-style masonry architecture and parallel alignments of scattered stones as the permanent foundations of market stalls. A 2007 study analysed soils from a modern Guatemalan market and compared the results with those obtained from analysis at a proposed ancient market at Chunchucmil. Unusually high levels of zinc and phosphorus at both sites indicated similar food production and vegetable sales activity. The calculated density of market stalls at Chunchucmil strongly suggests that a thriving market economy already existed in the Early Classic. Archaeologists have tentatively identified marketplaces at an increasing number of Maya cities by means of a combination of archaeology and soil analysis. When the Spanish arrived, Postclassic cities in the highlands had markets in permanent plazas, with officials on hand to settle disputes, enforce rules, and collect taxes.
Art
Maya art is essentially the art of the royal court. It is almost exclusively concerned with the Maya elite and their world. Maya art was crafted from both perishable and non-perishable materials, and served to link the Maya to their ancestors. Although surviving Maya art represents only a small proportion of the art that the Maya created, it represents a wider variety of subjects than any other art tradition in the Americas. Maya art has many regional styles, and is unique in the ancient Americas in bearing narrative text. The finest surviving Maya art dates to the Late Classic period.
The Maya exhibited a preference for the colour green or blue-green, and used the same word for the colours blue and green. Correspondingly, they placed high value on apple-green jade, and other greenstones, associating them with the sun-god Kʼinich Ajau. They sculpted artefacts that included fine tesserae and beads, to carved heads weighing . The Maya nobility practised dental modification, and some lords wore encrusted jade in their teeth. Mosaic funerary masks could also be fashioned from jade, such as that of Kʼinich Janaabʼ Pakal, king of Palenque.
Maya stone sculpture emerged into the archaeological record as a fully developed tradition, suggesting that it may have evolved from a tradition of sculpting wood. Because of the biodegradability of wood, the corpus of Maya woodwork has almost entirely disappeared. The few wooden artefacts that have survived include three-dimensional sculptures, and hieroglyphic panels. Stone Maya stelae are widespread in city sites, often paired with low, circular stones referred to as altars in the literature. Stone sculpture also took other forms, such as the limestone relief panels at Palenque and Piedras Negras. At Yaxchilan, Dos Pilas, Copán, and other sites, stone stairways were decorated with sculpture. The hieroglyphic stairway at Copán comprises the longest surviving Maya hieroglyphic text, and consists of 2,200 individual glyphs.
The largest Maya sculptures consisted of architectural façades crafted from stucco. The rough form was laid out on a plain plaster base coating on the wall, and the three-dimensional form was built up using small stones. Finally, this was coated with stucco and moulded into the finished form; human body forms were first modelled in stucco, with their costumes added afterwards. The final stucco sculpture was then brightly painted. Giant stucco masks were used to adorn temple façades by the Late Preclassic, and such decoration continued into the Classic period.
The Maya had a long tradition of mural painting; rich polychrome murals have been excavated at San Bartolo, dating to between 300 and 200 BC. Walls were coated with plaster, and polychrome designs were painted onto the smooth finish. The majority of such murals have not survived, but Early Classic tombs painted in cream, red, and black have been excavated at Caracol, Río Azul, and Tikal. Among the best preserved murals are a full-size series of Late Classic paintings at Bonampak.
Flint, chert, and obsidian all served utilitarian purposes in Maya culture, but many pieces were finely crafted into forms that were never intended to be used as tools. Eccentric flints are among the finest lithic artefacts produced by the ancient Maya. They were technically very challenging to produce, requiring considerable skill on the part of the artisan. Large obsidian eccentrics can measure over in length. Their actual form varies considerably but they generally depict human, animal and geometric forms associated with Maya religion. Eccentric flints show a great variety of forms, such as crescents, crosses, snakes, and scorpions. The largest and most elaborate examples display multiple human heads, with minor heads sometimes branching off from larger one.
Maya textiles are very poorly represented in the archaeological record, although by comparison with other pre-Columbian cultures, such as the Aztecs and the Andean region, it is likely that they were high-value items. A few scraps of textile have been recovered by archaeologists, but the best evidence for textile art is where they are represented in other media, such as painted murals or ceramics. Such secondary representations show the elite of the Maya court adorned with sumptuous cloths, generally these would have been cotton, but jaguar pelts and deer hides are also shown.
Ceramics are the most commonly surviving type of Maya art. The Maya had no knowledge of the potter's wheel, and Maya vessels were built up by coiling rolled strips of clay into the desired form. Maya pottery was not glazed, although it often had a fine finish produced by burnishing. Maya ceramics were painted with clay slips blended with minerals and coloured clays. Ancient Maya firing techniques have yet to be replicated. A quantity of extremely fine ceramic figurines have been excavated from Late Classic tombs on Jaina Island, in northern Yucatán. They stand from high and were hand modelled, with exquisite detail. The Ik-style polychrome ceramic corpus, including finely painted plates and cylindrical vessels, originated in Late Classic Motul de San José. It includes a set of features such as hieroglyphs painted in a pink or pale red colour and scenes with dancers wearing masks. One of the most distinctive features is the realistic representation of subjects as they appeared in life. The subject matter of the vessels includes courtly life from the Petén region in the 8th century AD, such as diplomatic meetings, feasting, bloodletting, scenes of warriors and the sacrifice of prisoners of war.
Bone, both human and animal, was also sculpted; human bones may have been trophies, or relics of ancestors. The Maya valued Spondylus shells, and worked them to remove the white exterior and spines, to reveal the fine orange interior. Around the 10th century AD, metallurgy arrived in Mesoamerica from South America, and the Maya began to make small objects in gold, silver and copper. The Maya generally hammered sheet metal into objects such as beads, bells, and discs. In the last centuries before the Spanish Conquest, the Maya began to use the lost-wax method to cast small metal pieces.
One poorly studied area of Maya folk art is graffiti. Additional graffiti, not part of the planned decoration, was incised into the stucco of interior walls, floors, and benches, in a wide variety of buildings, including temples, residences, and storerooms. Graffiti has been recorded at 51 Maya sites, particularly clustered in the Petén Basin and southern Campeche, and the Chenes region of northwestern Yucatán. At Tikal, where a great quantity of graffiti has been recorded, the subject matter includes drawings of temples, people, deities, animals, banners, litters, and thrones. Graffiti was often inscribed haphazardly, with drawings overlapping each other, and display a mix of crude, untrained art, and examples by artists who were familiar with Classic-period artistic conventions.
Architecture
The Maya produced a vast array of structures, and have left an extensive architectural legacy. Maya architecture also incorporates various art forms and hieroglyphic texts. Masonry architecture built by the Maya evidences craft specialization in Maya society, centralised organization and the political means to mobilize a large workforce. It is estimated that a large elite residence at Copán required an estimated 10,686 man-days to build, which compares to 67-man-days for a commoner's hut. It is further estimated that 65% of the labour required to build the noble residence was used in the quarrying, transporting, and finishing of the stone used in construction, and 24% of the labour was required for the manufacture and application of limestone-based plaster. Altogether, it is estimated that two to three months were required for the construction of the residence for this single noble at Copán, using between 80 and 130 full-time labourers. A Classic-period city like Tikal was spread over , with an urban core covering . The labour required to build such a city was immense, running into many millions of man-days. The most massive structures ever erected by the Maya were built during the Preclassic period. Craft specialization would have required dedicated stonemasons and plasterers by the Late Preclassic, and would have required planners and architects.
Urban design
Maya cities were not formally planned, and were subject to irregular expansion, with the haphazard addition of palaces, temples and other buildings. Most Maya cities tended to grow outwards from the core, and upwards as new structures were superimposed upon preceding architecture. Maya cities usually had a ceremonial and administrative centre surrounded by a vast irregular sprawl of residential complexes. The centres of all Maya cities featured sacred precincts, sometimes separated from nearby residential areas by walls. These precincts contained pyramid temples and other monumental architecture dedicated to elite activities, such as basal platforms that supported administrative or elite residential complexes. Sculpted monuments were raised to record the deeds of the ruling dynasty. City centres also featured plazas, sacred ballcourts and buildings used for marketplaces and schools. Frequently causeways linked the centre to outlying areas of the city. Some of these classes of architecture formed lesser groups in the outlying areas of the city, which served as sacred centres for non-royal lineages. The areas adjacent to these sacred compounds included residential complexes housing wealthy lineages. The largest and richest of these elite compounds sometimes possessed sculpture and art of craftsmanship equal to that of royal art.
The ceremonial centre of the Maya city was where the ruling elite lived, and where the administrative functions of the city were performed, together with religious ceremonies. It was also where the inhabitants of the city gathered for public activities. Elite residential complexes occupied the best land around the city centre, while commoners had their residences dispersed further away from the ceremonial centre. Residential units were built on top of stone platforms to raise them above the level of the rain season floodwaters.
Building materials and methods
The Maya built their cities with Neolithic technology; they built their structures from both perishable materials and from stone. The exact type of stone used in masonry construction varied according to locally available resources, and this also affected the building style. Across a broad swathe of the Maya area, limestone was immediately available. The local limestone is relatively soft when freshly cut, but hardens with exposure. There was great variety in the quality of limestone, with good-quality stone available in the Usumacinta region; in the northern Yucatán, the limestone used in construction was of relatively poor quality. Volcanic tuff was used at Copán, and nearby Quiriguá employed sandstone. In Comalcalco, where suitable stone was not available locally, fired bricks were employed. Limestone was burned at high temperatures in order to manufacture cement, plaster, and stucco. Lime-based cement was used to seal stonework in place, and stone blocks were fashioned using rope-and-water abrasion, and with obsidian tools. The Maya did not employ a functional wheel, so all loads were transported on litters, barges, or rolled on logs. Heavy loads were lifted with rope, but probably without employing pulleys.
Wood was used for beams, and for lintels, even in masonry structures. Throughout Maya history, common huts and some temples continued to be built from wooden poles and thatch. Adobe was also applied; this consisted of mud strengthened with straw and was applied as a coating over the woven-stick walls of huts. Like wood and thatch, adobe was used throughout Maya history, even after the development of masonry structures. In the southern Maya area, adobe was employed in monumental architecture when no suitable stone was locally available.
Principal construction types
The great cities of the Maya civilization were composed of pyramid temples, palaces, ballcourts, sacbeob (causeways), patios and plazas. Some cities also possessed extensive hydraulic systems or defensive walls. The exteriors of most buildings were painted, either in one or multiple colours, or with imagery. Many buildings were adorned with sculpture or painted stucco reliefs.
Palaces and acropoleis
These complexes were usually located in the site core, beside a principal plaza. Maya palaces consisted of a platform supporting a multiroom range structure. The term acropolis, in a Maya context, refers to a complex of structures built upon platforms of varying height. Palaces and acropoleis were essentially elite residential compounds. They generally extended horizontally as opposed to the towering Maya pyramids, and often had restricted access. Some structures in Maya acropoleis supported roof combs. Rooms often had stone benches, used for sleeping, and holes indicate where curtains once hung. Large palaces, such as at Palenque, could be fitted with a water supply, and sweat baths were often found within the complex, or nearby. During the Early Classic, rulers were sometimes buried underneath the acropolis complex. Some rooms in palaces were true throne rooms; in the royal palace of Palenque there were a number of throne rooms that were used for important events, including the inauguration of new kings.
Palaces are usually arranged around one or more courtyards, with their façades facing inwards; some examples are adorned with sculpture. Some palaces possess associated hieroglyphic descriptions that identify them as the royal residences of named rulers. There is abundant evidence that palaces were far more than simple elite residences, and that a range of courtly activities took place in them, including audiences, formal receptions, and important rituals.
Pyramids and temples
Temples were sometimes referred to in hieroglyphic texts as kʼuh nah, meaning "god's house". Temples were raised on platforms, most often upon a pyramid. The earliest temples were probably thatched huts built upon low platforms. By the Late Preclassic period, their walls were of stone, and the development of the corbel arch allowed stone roofs to replace thatch. By the Classic period, temple roofs were being topped with roof combs that extended the height of the temple and served as a foundation for monumental art. The temple shrines contained between one and three rooms, and were dedicated to important deities. Such a deity might be one of the patron gods of the city, or a deified ancestor. In general, freestanding pyramids were shrines honouring powerful ancestors.
E-Groups and observatories
The Maya were keen observers of the sun, stars, and planets. E-Groups were a particular arrangement of temples that were relatively common in the Maya region; they take their names from Group E at Uaxactun. They consisted of three small structures facing a fourth structure, and were used to mark the solstices and equinoxes. The earliest examples date to the Preclassic period. The Lost World complex at Tikal started out as an E-Group built towards the end of the Middle Preclassic. Due to its nature, the basic layout of an E-Group was constant. A structure was built on the west side of a plaza; it was usually a radial pyramid with stairways facing the cardinal directions. It faced east across the plaza to three small temples on the far side. From the west pyramid, the sun was seen to rise over these temples on the solstices and equinoxes. E-Groups were raised across the central and southern Maya area for over a millennium; not all were properly aligned as observatories, and their function may have been symbolic.
As well as E-Groups, the Maya built other structures dedicated to observing the movements of celestial bodies. Many Maya buildings were aligned with astronomical bodies, including the planet Venus, and various constellations. The Caracol structure at Chichen Itza was a circular multi-level edifice, with a conical superstructure. It has slit windows that marked the movements of Venus. At Copán, a pair of stelae were raised to mark the position of the setting sun at the equinoxes.
Triadic pyramids
Triadic pyramids first appeared in the Preclassic. They consisted of a dominant structure flanked by two smaller inward-facing buildings, all mounted upon a single basal platform. The largest known triadic pyramid was built at El Mirador in the Petén Basin; it covers an area six times as large as that covered by Temple IV, the largest pyramid at Tikal. The three superstructures all have stairways leading up from the central plaza on top of the basal platform. No securely established forerunners of Triadic Groups are known, but they may have developed from the eastern range building of E-Group complexes. The triadic form was the predominant architectural form in the Petén region during the Late Preclassic. Examples of triadic pyramids are known from as many as 88 archaeological sites. At Nakbe, there are at least a dozen examples of triadic complexes and the four largest structures in the city are triadic in nature. At El Mirador there are probably as many as 36 triadic structures. Examples of the triadic form are even known from Dzibilchaltun in the far north of the Yucatán Peninsula, and Qʼumarkaj in the Highlands of Guatemala. The triadic pyramid remained a popular architectural form for centuries after the first examples were built; it continued in use into the Classic Period, with later examples being found at Uaxactun, Caracol, Seibal, Nakum, Tikal and Palenque. The Qʼumarkaj example is the only one that has been dated to the Postclassic Period. The triple-temple form of the triadic pyramid appears to be related to Maya mythology.
Ballcourts
The ballcourt is a distinctive pan-Mesoamerican form of architecture. Although the majority of Maya ballcourts date to the Classic period, the earliest examples appeared around 1000 BC in northwestern Yucatán, during the Middle Preclassic. By the time of Spanish contact, ballcourts were only in use in the Guatemalan Highlands, at cities such as Qʼumarkaj and Iximche. Throughout Maya history, ballcourts maintained a characteristic form consisting of an ɪ shape, with a central playing area terminating in two transverse end zones. The central playing area usually measures between long, and is flanked by two lateral structures that stood up to high. The lateral platforms often supported structures that may have held privileged spectators. The Great Ballcourt at Chichen Itza is the largest in Mesoamerica, measuring long by wide, with walls standing high.
Regional architectural styles
Although Maya cities shared many common features, there was considerable variation in architectural style. Such styles were influenced by locally available construction materials, climate, topography, and local preferences. In the Late Classic, these local differences developed into distinctive regional architectural styles.
Central Petén
The central Petén style of architecture is modelled after the great city of Tikal. The style is characterised by tall pyramids supporting a summit shrine adorned with a roof comb, and accessed by a single doorway. Additional features are the use of stela-altar pairings, and the decoration of architectural façades, lintels, and roof combs with relief sculptures of rulers and gods. One of the finest examples of Central Petén style architecture is Tikal Temple I. Examples of sites in the Central Petén style include Altun Ha, Calakmul, Holmul, Ixkun, Nakum, Naranjo, and Yaxhá.
Puuc
The exemplar of Puuc-style architecture is Uxmal. The style developed in the Puuc Hills of northwestern Yucatán; during the Terminal Classic it spread beyond this core region across the northern Yucatán Peninsula. Puuc sites replaced rubble cores with lime cement, resulting in stronger walls, and also strengthened their corbel arches; this allowed Puuc-style cities to build freestanding entrance archways. The upper façades of buildings were decorated with precut stones mosaic-fashion, erected as facing over the core, forming elaborate compositions of long-nosed deities such as the rain god Chaac and the Principal Bird Deity. The motifs also included geometric patterns, lattices and spools, possibly influenced by styles from highland Oaxaca, outside the Maya area. In contrast, the lower façades were left undecorated. Roof combs were relatively uncommon at Puuc sites.
Chenes
The Chenes style is very similar to the Puuc style, but predates the use of the mosaic façades of the Puuc region. It featured fully adorned façades on both the upper and lower sections of structures. Some doorways were surrounded by mosaic masks of monsters representing mountain or sky deities, identifying the doorways as entrances to the supernatural realm. Some buildings contained interior stairways that accessed different levels. The Chenes style is most commonly encountered in the southern portion of the Yucatán Peninsula, although individual buildings in the style can be found elsewhere in the peninsula. Examples of Chenes sites include Dzibilnocac, Hochob, Santa Rosa Xtampak, and Tabasqueño.
Río Bec
The Río Bec style forms a sub-region of the Chenes style, and also features elements of the Central Petén style, such as prominent roof combs. Its palaces are distinctive for their false-tower decorations, lacking interior rooms, with steep, almost vertical, stairways and false doors. These towers were adorned with deity masks, and were built to impress the viewer, rather than serve any practical function. Such false towers are only found in the Río Bec region. Río Bec sites include Chicanná, Hormiguero, and Xpuhil.
Usumacinta
The Usumacinta style developed in the hilly terrain of the Usumacinta drainage. Cities took advantage of the hillsides to support their major architecture, as at Palenque and Yaxchilan. Sites modified corbel vaulting to allow thinner walls and multiple access doors to temples. As in Petén, roof combs adorned principal structures. Palaces had multiple entrances that used post-and-lintel entrances rather than corbel vaulting. Many sites erected stelae, but Palenque instead developed finely sculpted panelling to decorate its buildings.
Language
Before 2000 BC, the Maya spoke a single language, dubbed proto-Mayan by linguists. Linguistic analysis of reconstructed Proto-Mayan vocabulary suggests that the original Proto-Mayan homeland was in the western or northern Guatemalan Highlands, although the evidence is not conclusive. Proto-Mayan diverged during the Preclassic period to form the major Mayan language groups that make up the family, including Huastecan, Greater Kʼicheʼan, Greater Qʼanjobalan, Mamean, Tzʼeltalan-Chʼolan, and Yucatecan. These groups diverged further during the pre-Columbian era to form over 30 languages that have survived into modern times. The language of almost all Classic Maya texts over the entire Maya area has been identified as Chʼolan; Late Preclassic text from Kaminaljuyu, in the highlands, also appears to be in, or related to, Chʼolan. The use of Chʼolan as the language of Maya text does not necessarily indicate that it was the language commonly used by the local populace – it may have been equivalent to Medieval Latin as a ritual or prestige language. Classic Chʼolan may have been the prestige language of the Classic Maya elite, used in inter-polity communication such as diplomacy and trade. By the Postclassic period, Yucatec was also being written in Maya codices alongside Chʼolan.
Writing and literacy
The Maya writing system is one of the outstanding achievements of the pre-Columbian inhabitants of the Americas. It was the most sophisticated and highly developed writing system of more than a dozen systems that developed in Mesoamerica. The earliest inscriptions in an identifiably Maya script date back to 300–200 BC, in the Petén Basin. However, this is preceded by several other Mesoamerican writing systems, such as the Epi-Olmec and Zapotec scripts. Early Maya script had appeared on the Pacific coast of Guatemala by the late 1st century AD, or early 2nd century. Similarities between the Isthmian script and Early Maya script of the Pacific coast suggest that the two systems developed in tandem. By about AD 250, the Maya script had become a more formalised and consistent writing system.
The Catholic Church and colonial officials, notably Bishop Diego de Landa, destroyed Maya texts wherever they found them, and with them the knowledge of Maya writing, but by chance three uncontested pre-Columbian books dated to the Postclassic period have been preserved. These are known as the Madrid Codex, the Dresden Codex and the Paris Codex. A few pages survive from a fourth, the Grolier Codex, whose authenticity is disputed. Archaeology conducted at Maya sites often reveals other fragments, rectangular lumps of plaster and paint chips which were codices; these tantalizing remains are, however, too severely damaged for any inscriptions to have survived, most of the organic material having decayed. In reference to the few extant Maya writings, Michael D. Coe stated:
Most surviving pre-Columbian Maya writing dates to the Classic period and is contained in stone inscriptions from Maya sites, such as stelae, or on ceramics vessels. Other media include the aforementioned codices, stucco façades, frescoes, wooden lintels, cave walls, and portable artefacts crafted from a variety of materials, including bone, shell, obsidian, and jade.
Writing system
The Maya writing system (often called hieroglyphs from a superficial resemblance to Ancient Egyptian writing) is a logosyllabic writing system, combining a syllabary of phonetic signs representing syllables with logogram representing entire words.Tanaka 2008, pp. 30, 53. Among the writing systems of the Pre-Columbian New World, Maya script most closely represents the spoken language. At any one time, no more than around 500 glyphs were in use, some 200 of which (including variations) were phonetic.
The Maya script was in use up to the arrival of the Europeans, its use peaking during the Classic Period. In excess of 10,000 individual texts have been recovered, mostly inscribed on stone monuments, lintels, stelae and ceramics. The Maya also produced texts painted on a form of paper manufactured from processed tree-bark generally now known by its Nahuatl-language name amatl used to produce codices.Tobin 2001. The skill and knowledge of Maya writing persisted among segments of the population right up to the Spanish conquest. The knowledge was subsequently lost, as a result of the impact of the conquest on Maya society.
The decipherment and recovery of the knowledge of Maya writing has been a long and laborious process. Some elements were first deciphered in the late 19th and early 20th century, mostly the parts having to do with numbers, the Maya calendar, and astronomy. Major breakthroughs were made from the 1950s to 1970s, and accelerated rapidly thereafter. By the end of the 20th century, scholars were able to read the majority of Maya texts, and ongoing work continues to further illuminate the content.Kettunen & Helmke 2014, p. 9.
Logosyllabic script
The basic unit of Maya logosyllabic text is the glyph block, which transcribes a word or phrase. The block is composed of one or more individual glyphs attached to each other to form the glyph block, with individual glyph blocks generally being separated by a space. Glyph blocks are usually arranged in a grid pattern. For ease of reference, epigraphers refer to glyph blocks from left to right alphabetically, and top to bottom numerically. Thus, any glyph block in a piece of text can be identified. C4 would be third block counting from the left, and the fourth block counting downwards. If a monument or artefact has more than one inscription, column labels are not repeated, rather they continue in the alphabetic series; if there are more than 26 columns, the labelling continues as A', B', etc. Numeric row labels restart from 1 for each discrete unit of text.
Although Mayan text may be laid out in varying manners, generally it is arranged into double columns of glyph blocks. The reading order of text starts at the top left (block A1), continues to the second block in the double-column (B1), then drops down a row and starts again from the left half of the double column (A2), and thus continues in zig-zag fashion. Once the bottom is reached, the inscription continues from the top left of the next double column. Where an inscription ends in a single (unpaired) column, this final column is usually read straight downwards.
Individual glyph blocks may be composed of a number of elements. These consist of the main sign, and any affixes. Main signs represent the major element of the block, and may be a noun, verb, adverb, adjective, or phonetic sign. Some main signs are abstract, some are pictures of the object they represent, and others are "head variants", personifications of the word they represent. Affixes are smaller rectangular elements, usually attached to a main sign, although a block may be composed entirely of affixes. Affixes may represent a wide variety of speech elements, including nouns, verbs, verbal suffixes, prepositions, pronouns, and more. Small sections of a main sign could be used to represent the whole main sign, and Maya scribes were highly inventive in their usage and adaptation of glyph elements.
Writing tools
Although the archaeological record does not provide examples of brushes or pens, analysis of ink strokes on the Postclassic codices suggests that it was applied with a brush with a tip fashioned from pliable hair. A Classic period sculpture from Copán, Honduras, depicts a scribe with an inkpot fashioned from a conch shell. Excavations at Aguateca uncovered a number of scribal artefacts from the residences of elite status scribes, including palettes and mortars and pestles.
Scribes and literacy
Commoners were illiterate; scribes were drawn from the elite. It is not known if all members of the aristocracy could read and write, although at least some women could, since there are representations of female scribes in Maya art. Maya scribes were called aj tzʼib, meaning "one who writes or paints". There were probably scribal schools where members of the aristocracy were taught to write. Scribal activity is identifiable in the archaeological record; Jasaw Chan Kʼawiil I, king of Tikal, was interred with his paint pot. Some junior members of the Copán royal dynasty have also been found buried with their writing implements. A palace at Copán has been identified as that of a noble lineage of scribes; it is decorated with sculpture that includes figures holding ink pots.
Although not much is known about Maya scribes, some did sign their work, both on ceramics and on stone sculpture. Usually, only a single scribe signed a ceramic vessel, but multiple sculptors are known to have recorded their names on stone sculpture; eight sculptors signed one stela at Piedras Negras. However, most works remained unsigned by their artists.
Mathematics
In common with the other Mesoamerican civilizations, the Maya used a base 20 (vigesimal) system. The bar-and-dot counting system that is the base of Maya numerals was in use in Mesoamerica by 1000 BC; the Maya adopted it by the Late Preclassic, and added the symbol for zero. This may have been the earliest known occurrence of the idea of an explicit zero worldwide, although it may have been predated by the Babylonian system. The earliest explicit use of zero occurred on monuments dated to 357 AD. In its earliest uses, the zero served as a place holder, indicating an absence of a particular calendrical count. This later developed into a numeral that was used to perform calculation, and was used in hieroglyphic texts for more than a thousand years, until the writing system was extinguished by the Spanish.
The basic number system consists of a dot to represent one, and a bar to represent five. By the Postclassic period a shell symbol represented zero; during the Classic period other glyphs were used. The Maya numerals from 0 to 19 used repetitions of these symbols. The value of a numeral was determined by its position; as a numeral shifted upwards, its basic value multiplied by twenty. In this way, the lowest symbol would represent units, the next symbol up would represent multiples of twenty, and the symbol above that would represent multiples of 400, and so on. For example, the number 884 would be written with four dots on the lowest level, four dots on the next level up, and two dots on the next level after that, to give 4×1 + 4×20 + 2×400 = 884. Using this system, the Maya were able to record huge numbers. Simple addition could be performed by summing the dots and bars in two columns to give the result in a third column.
Calendar
The Maya calendrical system, in common with other Mesoamerican calendars, had its origins in the Preclassic period. However, it was the Maya that developed the calendar to its maximum sophistication, recording lunar and solar cycles, eclipses and movements of planets with great accuracy. In some cases, the Maya calculations were more accurate than equivalent calculations in the Old World; for example, the Maya solar year was calculated to greater accuracy than the Julian year. The Maya calendar was intrinsically tied to Maya ritual, and it was central to Maya religious practices. The calendar combined a non-repeating Long Count with three interlocking cycles, each measuring a progressively larger period. These were the 260-day tzolkʼin, the 365-day haabʼ, and the 52-year Calendar Round, resulting from the combination of the tzolkʼin with the haab'. There were also additional calendric cycles, such as an 819-day cycle associated with the four quadrants of Maya cosmology, governed by four different aspects of the god Kʼawiil.
The basic unit in the Maya calendar was one day, or kʼin, and 20 kʼin grouped to form a winal. The next unit, instead of being multiplied by 20, as called for by the vigesimal system, was multiplied by 18 in order to provide a rough approximation of the solar year (hence producing 360 days). This 360-day year was called a tun. Each succeeding level of multiplication followed the vigesimal system.
The 260-day tzolkʼin provided the basic cycle of Maya ceremony, and the foundations of Maya prophecy. No astronomical basis for this count has been proved, and it may be that the 260-day count is based on the human gestation period. This is reinforced by the use of the tzolkʼin to record dates of birth, and provide corresponding prophecy. The 260-day cycle repeated a series of 20-day-names, with a number from 1 to 13 prefixed to indicated where in the cycle a particular day occurred.
The 365-day haab was produced by a cycle of eighteen named 20-day winals, completed by the addition of a 5-day period called the wayeb. The wayeb was considered to be a dangerous time, when the barriers between the mortal and supernatural realms were broken, allowing malignant deities to cross over and interfere in human concerns. In a similar way to the tzʼolkin, the named winal would be prefixed by a number (from 0 to 19), in the case of the shorter wayeb period, the prefix numbers ran 0 to 4. Since each day in the tzʼolkin had a name and number (e.g. 8 Ajaw), this would interlock with the haab, producing an additional number and name, to give any day a more complete designation, for example 8 Ajaw 13 Keh. Such a day name could only recur once every 52 years, and this period is referred to by Mayanists as the Calendar Round. In most Mesoamerican cultures, the Calendar Round was the largest unit for measuring time.
As with any non-repeating calendar, the Maya measured time from a fixed start point. The Maya set the beginning of their calendar as the end of a previous cycle of bakʼtuns, equivalent to a day in 3114 BC. This was believed by the Maya to be the day of the creation of the world in its current form. The Maya used the Long Count Calendar to fix any given day of the Calendar Round within their current great Piktun cycle consisting of either 20 bakʼtuns. There was some variation in the calendar, specifically texts in Palenque demonstrate that the piktun cycle that ended in 3114 BC had only 13 bakʼtuns, but others used a cycle of 13 + 20 bakʼtun in the current piktun. Additionally, there may have been some regional variation in how these exceptional cycles were managed.
A full long count date consisted of an introductory glyph followed by five glyphs counting off the number of bakʼtuns, katʼuns, tuns, winals, and kʼins since the start of the current creation. This would be followed by the tzʼolkin portion of the Calendar Round date, and after a number of intervening glyphs, the Long Count date would end with the Haab portion of the Calendar Round date.
Correlation of the Long Count calendar
Although the Calendar Round is still in use today, the Maya started using an abbreviated Short Count during the Late Classic period. The Short Count is a count of 13 kʼatuns. The Book of Chilam Balam of Chumayel contains the only colonial reference to classic long-count dates. The most generally accepted correlation is the Goodman-Martínez-Thompson, or GMT, correlation. This equates the Long Count date 11.16.0.0.0 13 Ajaw 8 Xul with the Gregorian date of 12 November 1539. Epigraphers Simon Martin and Nikolai Grube argue for a two-day shift from the standard GMT correlation. The Spinden Correlation would shift the Long Count dates back by 260 years; it also accords with the documentary evidence, and is better suited to the archaeology of the Yucatán Peninsula, but presents problems with the rest of the Maya region. The George Vaillant Correlation would shift all Maya dates 260 years later, and would greatly shorten the Postclassic period. Radiocarbon dating of dated wooden lintels at Tikal supports the GMT correlation.
Astronomy
The Maya made meticulous observations of celestial bodies, patiently recording astronomical data on the movements of the sun, moon, Venus, and the stars. This information was used for divination, so Maya astronomy was essentially for astrological purposes. Although Maya astronomy was mainly used by the priesthood to comprehend past cycles of time, and project them into the future to produce prophecy, it also had some practical applications, such as providing aid in crop planting and harvesting. The priesthood refined observations and recorded eclipses of the sun and moon, and movements of Venus and the stars; these were measured against dated events in the past, on the assumption that similar events would occur in the future when the same astronomical conditions prevailed. Illustrations in the codices show that priests made astronomical observations using the naked eye, assisted by crossed sticks as a sighting device. Analysis of the few remaining Postclassic codices has revealed that, at the time of European contact, the Maya had recorded eclipse tables, calendars, and astronomical knowledge that was more accurate at that time than comparable knowledge in Europe.
The Maya measured the 584-day Venus cycle with an error of just two hours. Five cycles of Venus equated to eight 365-day haab calendrical cycles, and this period was recorded in the codices. The Maya also followed the movements of Jupiter, Mars and Mercury. When Venus rose as the Morning Star, this was associated with the rebirth of the Maya Hero Twins. For the Maya, the heliacal rising of Venus was associated with destruction and upheaval. Venus was closely associated with warfare, and the hieroglyph meaning "war" incorporated the glyph-element symbolizing the planet. Sight-lines through the windows of the Caracol building at Chichen Itza align with the northernmost and southernmost extremes of Venus' path. Maya rulers launched military campaigns to coincide with the heliacal or cosmical rising of Venus, and would also sacrifice important captives to coincide with such conjunctions.
Solar and lunar eclipses were considered to be especially dangerous events that could bring catastrophe upon the world. In the Dresden Codex, a solar eclipse is represented by a serpent devouring the kʼin ("day") hieroglyph. Eclipses were interpreted as the sun or moon being bitten, and lunar tables were recorded in order that the Maya might be able to predict them, and perform the appropriate ceremonies to ward off disaster.
Religion and mythology
In common with the rest of Mesoamerica, the Maya believed in a supernatural realm inhabited by an array of powerful deities who needed to be placated with ceremonial offerings and ritual practices. At the core of Maya religious practice was the worship of deceased ancestors, who would intercede for their living descendants in dealings with the supernatural realm. The earliest intermediaries between humans and the supernatural were shamans. Maya ritual included the use of hallucinogens for chilan, oracular priests. Visions for the chilan were likely facilitated by consumption of water lilies, which are hallucinogenic in high doses. As the Maya civilization developed, the ruling elite codified the Maya world view into religious cults that justified their right to rule. In the Late Preclassic, this process culminated in the institution of the divine king, the kʼuhul ajaw, endowed with ultimate political and religious power.
The Maya viewed the cosmos as highly structured. There were thirteen levels in the heavens and nine in the underworld, with the mortal world in between. Each level had four cardinal directions associated with a different colour; north was white, east was red, south was yellow, and west was black. Major deities had aspects associated with these directions and colours.
Maya households interred their dead underneath the floors, with offerings appropriate to the social status of the family. There the dead could act as protective ancestors. Maya lineages were patrilineal, so the worship of a prominent male ancestor would be emphasised, often with a household shrine. As Maya society developed, and the elite became more powerful, Maya royalty developed their household shrines into the great pyramids that held the tombs of their ancestors.
Belief in supernatural forces pervaded Maya life and influenced every aspect of it, from the simplest day-to-day activities such as food preparation, to trade, politics, and elite activities. Maya deities governed all aspects of the world, both visible and invisible. The Maya priesthood was a closed group, drawing its members from the established elite; by the Early Classic they were recording increasingly complex ritual information in their hieroglyphic books, including astronomical observations, calendrical cycles, history and mythology. The priests performed public ceremonies that incorporated feasting, bloodletting, incense burning, music, ritual dance, and, on certain occasions, human sacrifice. During the Classic period, the Maya ruler was the high priest, and the direct conduit between mortals and the gods. It is highly likely that, among commoners, shamanism continued in parallel to state religion. By the Postclassic, religious emphasis had changed; there was an increase in worship of the images of deities, and more frequent recourse to human sacrifice.
Archaeologists painstakingly reconstruct these ritual practices and beliefs using several techniques. One important, though incomplete, resource is physical evidence, such as dedicatory caches and other ritual deposits, shrines, and burials with their associated funerary offerings. Maya art, architecture, and writing are another resource, and these can be combined with ethnographic sources, including records of Maya religious practices made by the Spanish during the conquest.
Human sacrifice
Blood was viewed as a potent source of nourishment for the Maya deities, and the sacrifice of a living creature was a powerful blood offering. By extension, the sacrifice of a human life was the ultimate offering of blood to the gods, and the most important Maya rituals culminated in human sacrifice. Generally only high status prisoners of war were sacrificed, with lower status captives being used for labour.
Important rituals such as the dedication of major building projects or the enthronement of a new ruler required a human offering. The sacrifice of an enemy king was the most prized, and such a sacrifice involved decapitation of the captive ruler, perhaps in a ritual reenactment of the decapitation of the Maya maize god by the death gods. In AD 738, the vassal king Kʼakʼ Tiliw Chan Yopaat of Quiriguá captured his overlord, Uaxaclajuun Ubʼaah Kʼawiil of Copán and a few days later ritually decapitated him. Sacrifice by decapitation is depicted in Classic period Maya art, and sometimes took place after the victim was tortured, being variously beaten, scalped, burnt or disembowelled. Another myth associated with decapitation was that of the Hero Twins recounted in the Popol Vuh: playing a ballgame against the gods of the underworld, the heroes achieved victory, but one of each pair of twins was decapitated by their opponents.
During the Postclassic period, the most common form of human sacrifice was heart extraction, influenced by the rites of the Aztecs in the Valley of Mexico; this usually took place in the courtyard of a temple, or upon the summit of the pyramid. In one ritual, the corpse would be skinned by assistant priests, except for the hands and feet, and the officiating priest would then dress himself in the skin of the sacrificial victim and perform a ritual dance symbolizing the rebirth of life. Archaeological investigations indicate that heart sacrifice was practised as early as the Classic period.
Deities
The Maya world was populated by a great variety of deities, supernatural entities and sacred forces. The Maya had such a broad interpretation of the sacred that identifying distinct deities with specific functions is inaccurate. The Maya interpretation of deities was closely tied to the calendar, astronomy, and their cosmology. The importance of a deity, its characteristics, and its associations varied according to the movement of celestial bodies. The priestly interpretation of astronomical records and books was therefore crucial, since the priest would understand which deity required ritual propitiation, when the correct ceremonies should be performed, and what would be an appropriate offering. Each deity had four manifestations, associated with the cardinal directions, each identified with a different colour. They also had a dual day-night/life-death aspect.
Itzamna was the creator god, but he also embodied the cosmos, and was simultaneously a sun god; Kʼinich Ahau, the day sun, was one of his aspects. Maya kings frequently identified themselves with Kʼinich Ahau. Itzamna also had a night sun aspect, the Night Jaguar, representing the sun in its journey through the underworld. The four Pawatuns supported the corners of the mortal realm; in the heavens, the Bacabs performed the same function. As well as their four main aspects, the Bakabs had dozens of other aspects that are not well understood. The four Chaacs were storm gods, controlling thunder, lightning, and the rains. The nine lords of the night each governed one of the underworld realms. Other important deities included the moon goddess, the maize god, and the Hero Twins.
The Popol Vuh was written in the Latin script in early colonial times, and was probably transcribed from a hieroglyphic book by an unknown Kʼicheʼ Maya nobleman. It is one of the most outstanding works of indigenous literature in the Americas. The Popul Vuh recounts the mythical creation of the world, the legend of the Hero Twins, and the history of the Postclassic Kʼicheʼ kingdom. Deities recorded in the Popul Vuh include Hun Hunahpu, believed by some to be the Kʼicheʼ maize god, and a triad of deities led by the Kʼicheʼ patron Tohil, and also including the moon goddess Awilix, and the mountain god Jacawitz.
In common with other Mesoamerican cultures, the Maya worshipped feathered serpent deities. Such worship was rare during the Classic period, but by the Postclassic the feathered serpent had spread to both the Yucatán Peninsula and the Guatemalan Highlands. In Yucatán, the feathered serpent deity was Kukulkan, among the Kʼicheʼ it was Qʼuqʼumatz. Kukulkan had his origins in the Classic period War Serpent, Waxaklahun Ubah Kan'', and has also been identified as the Postclassic version of the Vision Serpent of Classic Maya art. Although the cult of Kukulkan had its origins in these earlier Maya traditions, the worship of Kukulkan was heavily influenced by the Quetzalcoatl cult of central Mexico. Likewise, Qʼuqʼumatz had a composite origin, combining the attributes of Mexican Quetzalcoatl with aspects of the Classic period Itzamna.
Agriculture
The ancient Maya had diverse and sophisticated methods of food production. It was believed that shifting cultivation (swidden) agriculture provided most of their food, but it is now thought that permanent raised fields, terracing, intensive gardening, forest gardens, and managed fallows were also crucial to supporting the large populations of the Classic period in some areas. Indeed, evidence of these different agricultural systems persist today: raised fields connected by canals can be seen on aerial photographs. Contemporary rainforest species composition has significantly higher abundance of species of economic value to ancient Maya in areas that were densely populated in pre-Columbian times, and pollen records in lake sediments suggest that maize, manioc, sunflower seeds, cotton, and other crops have been cultivated in association with deforestation in Mesoamerica since at least 2500 BC.
The basic staples of the Maya diet were maize, beans, and squashes. These were supplemented with a wide variety of other plants either cultivated in gardens or gathered in the forest. At Joya de Cerén, a volcanic eruption preserved a record of foodstuffs stored in Maya homes, among them were chilies and tomatoes. Cotton seeds were in the process of being ground, perhaps to produce cooking oil. In addition to basic foodstuffs, the Maya also cultivated prestige crops such as cotton, cacao and vanilla. Cacao was especially prized by the elite, who consumed chocolate beverages. Cotton was spun, dyed, and woven into valuable textiles in order to be traded.
The Maya had few domestic animals; dogs were domesticated by 3000 BC, and the Muscovy duck by the Late Postclassic. Ocellated turkeys were unsuitable for domestication, but were rounded up in the wild and penned for fattening. All of these were used as food animals; dogs were additionally used for hunting. It is possible that deer were also penned and fattened.
Maya sites
There are hundreds of Maya sites spread across five countries: Belize, El Salvador, Guatemala, Honduras and Mexico.
The six sites with particularly outstanding architecture or sculpture are Chichen Itza, Palenque, Uxmal, and Yaxchilan in Mexico, Tikal in Guatemala and Copán in Honduras. Other important, but difficult to reach, sites include Calakmul and El Mirador. The principal sites in the Puuc region, after Uxmal, are Kabah, Labna, and Sayil. In the east of the Yucatán Peninsula are Coba and the small site of Tulum. The Río Bec sites of the base of the peninsula include Becan, Chicanná, Kohunlich, and Xpuhil. The most noteworthy sites in Chiapas, other than Palenque and Yaxchilan, are Bonampak and Toniná. In the Guatemalan Highlands are Iximche, Kaminaljuyu, Mixco Viejo, and Qʼumarkaj (also known as Utatlán). In the northern Petén lowlands of Guatemala there are many sites, though apart from Tikal access is generally difficult. Some of the Petén sites are Dos Pilas, Seibal, and Uaxactún. Important sites in Belize include Altun Ha, Caracol, and Xunantunich.
Museum collections
There are many museums across the world with Maya artefacts in their collections. The Foundation for the Advancement of Mesoamerican Studies lists over 250 museums in its Maya Museum database, and the European Association of Mayanists lists just under 50 museums in Europe alone.
See also
Entheogenics and the Maya
Huastec civilization
Index of Mexico-related articles
Songs of Dzitbalche
References
Bibliography
Alt URL
Full list from FAMSI archived from the original on 2015-06-08.
Further reading
External links
Foundation for the Advancement of Mesoamerican Studies, Inc. (FAMSI)
Primary sources of Maya history – part one by Ronald A. Barnett
Mesoweb by Joel Skidmore.
Maya Map – A map of the Maya civilization.
Former monarchies of North America
History of Guatemala
History of Belize
History of Chiapas
History of El Salvador
History of Honduras
2nd-millennium BC establishments
1697 disestablishments in North America
Former countries in North America
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[
"Thomas William Francis Gann (13 May 1867 – 24 February 1938) was a medical doctor by profession, but is best remembered for his work as an amateur archaeologist exploring ruins of the Maya civilization.\n\nPersonal history\n\nThomas Gann was born in Murrisk Abbey, County Mayo, Ireland, the son of William Gann of Whitstable, England, and Rose Garvey of Murrisk Abbey. He was raised in Whitstable, where his parents were prominent in the social life of the town. Gann trained in medicine in Middlesex, England.\n\nSomerset Maugham named the heroine of Cakes and Ale Rosie Gann.\n\nCareer\nIn 1894 he was appointed district medical officer for British Honduras, where he would spend most of the next quarter century. He soon developed a keen interest in the colony's Mayan ruins, which up to then had been little documented. He also traveled in the Yucatán Peninsula, exploring ruins there.\n\nGann discovered a number of sites, including Lubaantun, Ichpaatun and Tzibanche. He published the first detailed descriptions of such ruins as Xunantunich and Lamanai. He made important early exploration at Santa Rita, Louisville, and Coba. At Tulum he documented buildings overlooked by previous explorers, including a rare find of a temple with the Pre-Columbian idol still intact inside.\n\nMidway through his career, in 1908 Gann became the honorary lecturer in Central American Antiquities at the new Institute of Archaeology of the University of Liverpool (not long after he had taken the Diploma there in Tropical Medicine). Liverpool subscribers funded several of his fieldwork seasons up to 1912.\n\nRetirement\n\nThomas Gann retired as British Honduras's medical officer in 1923 when he wrote several books about his travels and explorations. He sold a large number of objects he had collected in the Mayan region to the British Museum in 1924.\n\nWorks\n The Maya Indians of Southern Yucatan and Northern British Honduras (Washington: Government Printing Office, 1918)\n with Thompson, J.E. The History of the Maya (London: Scribner, 1931) \n Mexico from the Earliest Times to the Conquest (London: Lovat Dickson, 1936)\n\nNotes\n\nReferences\n\nExternal links\n \n\n1867 births\n1938 deaths\nPeople from County Mayo\n19th-century Irish people\n19th-century explorers\n20th-century explorers\nIrish archaeologists\nIrish explorers\n19th-century travel writers\n20th-century travel writers\nIrish travel writers\nBelizean academics\nExplorers of Central America\nMayanists\nIrish Mesoamericanists\n19th-century Mesoamericanists\n20th-century Mesoamericanists\nMesoamerican archaeologists",
"Cochuah (also Kock Wah) (in the Mayan language: toponymic; K-: our + Och: food + Wah: bread. \"Our food of bread\"?) is the name of one of the sixteen Mayan provinces into which the central Yucatán Peninsula was divided at the time of the arrival of the Spanish conquistadors in the sixteenth century.\n\nAfter the destruction of Mayapán (1441–1461), great rivalry between the Mayas started, and led to the formation of 16 independent jurisdictions called kuchkabal (in Mayan: province or region). In each kuchkabal there was a halach uinik (in Mayan: \"real man\"; \"man in control\") who was the chief with the biggest military, judicial and political authority, and who lived in the main city, considered to be the capital of the jurisdiction.\n\nHistorical and territorial data \n\nThe cacicazgo bordered with Cupul in the north, with Sotuta, Tutul Xiu and Chakán Putún in the west, and with Ekab and Uaymil in the east, according to the map made by Ralph L. Roys.\n\nSome authors, like Héctor Pérez Martínez in his notes for the seventh edition (1938) of The Report of the Affairs of Yucatan by Diego de Landa says that the capital of Cochuah was Tixhotzuc, citing Juan Francisco Molina Solís. However, according to Yucatan at the Time, Chunhuhub (today in the municipality of Felipe Carrillo Puerto, Quintana Roo) seems to have been the main city, much closer to the province of Uaymil. Other than that city, to the east and the south extended great forests with little population up to the Bay of Ascension, which some writers consider formed part of the jurisdiction of Cochuah. It appears that the halach uinik of the region was Nakahum Cochuah who, in 1579, resided in Tihosuco, a fact which reinforces the thesis that that town was the true capital. The leader and his council had solid relations with the provinces of Cupul and Sotuta, and the three were united against the Spanish conquistadors.\n\nApart from Tihosuco and Chunhuhub, other important villages of the province were Tiholop, Tinum, Ichmul, and Chikindzonot. Recently, there has been archaeological work exploring Yo'okop, a site which appears to have had importance during the post-classical period and long after, in the 19th century as epicenter of the class war during which rebellious natives took refuge in this region of the Yucatán peninsula.\n\nThis region is located in the present municipality of José María Morelos in the state of Quintana Roo.\n\nReferences\n\nMayan chiefdoms of the Yucatán Peninsula"
] |
[
"Maya civilization",
"Postclassic period (c. 950-1539 AD)",
"Were there any explorers in the Mayan region during this time?",
"I don't know."
] |
C_f3af675fc9294dec9e5f837a1620ba95_1
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What was a notable event during this time period?
| 2 |
What was a notable event during the Maya Civilization Postclassic period?
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Maya civilization
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The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America. Mesoamerica was one of six cradles of civilization worldwide. The Mesoamerican area gave rise to a series of cultural developments that included complex societies, agriculture, cities, monumental architecture, writing, and calendrical systems. The set of traits shared by Mesoamerican cultures also included astronomical knowledge, blood and human sacrifice, and a cosmovision that viewed the world as divided into four divisions aligned with the cardinal directions, each with different attributes, and a three-way division of the world into the celestial realm, the earth, and the underworld. By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies. The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes. All Mesoamerican cultures used Stone Age technology; after c. 1000 AD copper, silver and gold were worked. Mesoamerica lacked draft animals, did not use the wheel, and possessed few domesticated animals; the principal means of transport was on foot or by canoe. Mesoamericans viewed the world as hostile and governed by unpredictable deities. The ritual Mesoamerican ballgame was widely played. Mesoamerica is linguistically diverse, with most languages falling within a small number of language families - the major families are Mayan, Mixe-Zoquean, Otomanguean, and Uto-Aztecan; there are also a number of smaller families and isolates. The Mesoamerican language area shares a number of important features, including widespread loanwords, and use of a vigesimal number system. The territory of the Maya covered a third of Mesoamerica, and the Maya were engaged in a dynamic relationship with neighbouring cultures that included the Olmecs, Mixtecs, Teotihuacan, the Aztecs, and others. During the Early Classic period, the Maya cities of Tikal and Kaminaljuyu were key Maya foci in a network that extended beyond the Maya area into the highlands of central Mexico. At around the same time, there was a strong Maya presence at the Tetitla compound of Teotihuacan. Centuries later, during the 9th century AD, murals at Cacaxtla, another site in the central Mexican highlands, were painted in a Maya style. This may have been either an effort to align itself with the still-powerful Maya area after the collapse of Teotihuacan and ensuing political fragmentation in the Mexican Highlands, or an attempt to express a distant Maya origin of the inhabitants. The Maya city of Chichen Itza and the distant Toltec capital of Tula had an especially close relationship. The Maya developed their first civilization in the Preclassic period. Scholars continue to discuss when this era of Maya civilization began. Maya occupation at Cuello (modern-day Belize) has been carbon dated to around 2600 BC. Settlements were established around 1800 BC in the Soconusco region of the Pacific coast, and the Maya were already cultivating the staple crops of maize, beans, squash, and chili pepper. This period was characterized by sedentary communities and the introduction of pottery and fired clay figurines. During the Middle Preclassic Period, small villages began to grow to form cities. Nakbe in the Peten department of Guatemala is the earliest well-documented city in the Maya lowlands, where large structures have been dated to around 750 BC. The northern lowlands of Yucatan were widely settled by the Middle Preclassic. By approximately 400 BC, early Maya rulers were raising stelae. A developed script was already being used in Peten by the 3rd century BC. In the Late Preclassic Period, the enormous city of El Mirador grew to cover approximately 16 square kilometres (6.2 sq mi). Although not as large, Tikal was already a significant city by around 350 BC. In the highlands, Kaminaljuyu emerged as a principal centre in the Late Preclassic. Takalik Abaj and Chocola were two of the most important cities on the Pacific coastal plain, and Komchen grew to become an important site in northern Yucatan. The Late Preclassic cultural florescence collapsed in the 1st century AD and many of the great Maya cities of the epoch were abandoned; the cause of this collapse is unknown. Although much reduced, a significant Maya presence remained into the Postclassic period after the abandonment of the major Classic period cities; the population was particularly concentrated near permanent water sources. Unlike during previous cycles of contraction in the Maya region, abandoned lands were not quickly resettled in the Postclassic. Activity shifted to the northern lowlands and the Maya Highlands; this may have involved migration from the southern lowlands, because many Postclassic Maya groups had migration myths. Chichen Itza and its Puuc neighbours declined dramatically in the 11th century, and this may represent the final episode of Classic Period collapse. After the decline of Chichen Itza, the Maya region lacked a dominant power until the rise of the city of Mayapan in the 12th century. New cities arose near the Caribbean and Gulf coasts, and new trade networks were formed. The Postclassic Period was marked by changes from the preceding Classic Period. The once-great city of Kaminaljuyu in the Valley of Guatemala was abandoned after continuous occupation of almost 2,000 years. Across the highlands and neighbouring Pacific coast, long-occupied cities in exposed locations were relocated, apparently due to a proliferation of warfare. Cities came to occupy more-easily defended hilltop locations surrounded by deep ravines, with ditch-and-wall defences sometimes supplementing the protection provided by the natural terrain. One of the most important cities in the Guatemalan Highlands at this time was Q'umarkaj, the capital of the aggressive K'iche' kingdom. The government of Maya states, from the Yucatan to the Guatemalan highlands, was often organized as joint rule by a council. However, in practice one member of the council could act as a supreme ruler, while the other members served him as advisors. Mayapan was abandoned around 1448, after a period of political, social and environmental turbulence that in many ways echoed the Classic period collapse in the southern Maya region. The abandonment of the city was followed by a period of prolonged warfare, disease and natural disasters in the Yucatan Peninsula, which ended only shortly before Spanish contact in 1511. Even without a dominant regional capital, the early Spanish explorers reported wealthy coastal cities and thriving marketplaces. During the Late Postclassic, the Yucatan Peninsula was divided into a number of independent provinces that shared a common culture but varied in internal sociopolitical organization. On the eve of the Spanish conquest, the highlands of Guatemala were dominated by several powerful Maya states. The K'iche' had carved out a small empire covering a large part of the western Guatemalan Highlands and the neighbouring Pacific coastal plain. However, in the decades before the Spanish invasion the Kaqchikel kingdom had been steadily eroding the kingdom of the K'iche'. CANNOTANSWER
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The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America.
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The Maya civilization () was a Mesoamerican civilization developed by the Maya peoples, and noted for its logosyllabic script—the most sophisticated and highly developed writing system in pre-Columbian Americas—as well as for its art, architecture, mathematics, calendar, and astronomical system. The Maya civilization developed in the area that today comprises southeastern Mexico, all of Guatemala and Belize, and the western portions of Honduras and El Salvador. It includes the northern lowlands of the Yucatán Peninsula and the highlands of the Sierra Madre, the Mexican state of Chiapas, southern Guatemala, El Salvador, and the southern lowlands of the Pacific littoral plain. "Maya" is a modern term used to refer collectively to the various peoples that inhabited this area. They did not call themselves "Maya" and did not have a sense of common identity or political unity. Today, their descendants, known collectively as the Maya, number well over 6 million individuals, speak more than twenty-eight surviving Mayan languages, and reside in nearly the same area as their ancestors.
The Archaic period, before 2000 BC, saw the first developments in agriculture and the earliest villages. The Preclassic period () saw the establishment of the first complex societies in the Maya region, and the cultivation of the staple crops of the Maya diet, including maize, beans, squashes, and chili peppers. The first Maya cities developed around 750 BC, and by 500 BC these cities possessed monumental architecture, including large temples with elaborate stucco façades. Hieroglyphic writing was being used in the Maya region by the 3rd century BC. In the Late Preclassic a number of large cities developed in the Petén Basin, and the city of Kaminaljuyu rose to prominence in the Guatemalan Highlands. Beginning around 250 AD, the Classic period is largely defined as when the Maya were raising sculpted monuments with Long Count dates. This period saw the Maya civilization develop many city-states linked by a complex trade network. In the Maya Lowlands two great rivals, the cities of Tikal and Calakmul, became powerful. The Classic period also saw the intrusive intervention of the central Mexican city of Teotihuacan in Maya dynastic politics. In the 9th century, there was a widespread political collapse in the central Maya region, resulting in internecine warfare, the abandonment of cities, and a northward shift of population. The Postclassic period saw the rise of Chichen Itza in the north, and the expansion of the aggressive Kʼicheʼ kingdom in the Guatemalan Highlands. In the 16th century, the Spanish Empire colonised the Mesoamerican region, and a lengthy series of campaigns saw the fall of Nojpetén, the last Maya city, in 1697.
Rule during the Classic period centred on the concept of the "divine king", who was thought to act as a mediator between mortals and the supernatural realm. Kingship was patrilineal, and power normally passed to the eldest son. A prospective king was expected to be a successful war leader as well as a ruler. Closed patronage systems were the dominant force in Maya politics, although how patronage affected the political makeup of a kingdom varied from city-state to city-state. By the Late Classic period, the aristocracy had grown in size, reducing the previously exclusive power of the king. The Maya developed sophisticated art forms using both perishable and non-perishable materials, including wood, jade, obsidian, ceramics, sculpted stone monuments, stucco, and finely painted murals.
Maya cities tended to expand organically. The city centers comprised ceremonial and administrative complexes, surrounded by an irregularly shaped sprawl of residential districts. Different parts of a city were often linked by causeways. Architecturally, city buildings included palaces, pyramid-temples, ceremonial ballcourts, and structures specially aligned for astronomical observation. The Maya elite were literate, and developed a complex system of hieroglyphic writing. Theirs was the most advanced writing system in the pre-Columbian Americas. The Maya recorded their history and ritual knowledge in screenfold books, of which only three uncontested examples remain, the rest having been destroyed by the Spanish. In addition, a great many examples of Maya texts can be found on stelae and ceramics. The Maya developed a highly complex series of interlocking ritual calendars, and employed mathematics that included one of the earliest known instances of the explicit zero in human history. As a part of their religion, the Maya practised human sacrifice.
Mesoamerica
The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America. Mesoamerica was one of six cradles of civilization worldwide. The Mesoamerican area gave rise to a series of cultural developments that included complex societies, agriculture, cities, monumental architecture, writing, and calendrical systems. The set of traits shared by Mesoamerican cultures also included astronomical knowledge, blood and human sacrifice, and a cosmovision that viewed the world as divided into four divisions aligned with the cardinal directions, each with different attributes, and a three-way division of the world into the celestial realm, the earth, and the underworld.
By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies. The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes. All Mesoamerican cultures used Stone Age technology; after c. 1000 AD copper, silver and gold were worked. Mesoamerica lacked draft animals, did not use the wheel, and possessed few domesticated animals; the principal means of transport was on foot or by canoe. Mesoamericans viewed the world as hostile and governed by unpredictable deities. The ritual Mesoamerican ballgame was widely played. Mesoamerica is linguistically diverse, with most languages falling within a small number of language families—the major families are Mayan, Mixe–Zoquean, Otomanguean, and Uto-Aztecan; there are also a number of smaller families and isolates. The Mesoamerican language area shares a number of important features, including widespread loanwords, and use of a vigesimal number system.
The territory of the Maya covered a third of Mesoamerica, and the Maya were engaged in a dynamic relationship with neighbouring cultures that included the Olmecs, Mixtecs, Teotihuacan, the Aztecs, and others. During the Early Classic period, the Maya cities of Tikal and Kaminaljuyu were key Maya foci in a network that extended beyond the Maya area into the highlands of central Mexico. At around the same time, there was a strong Maya presence at the Tetitla compound of Teotihuacan. Centuries later, during the 9th century AD, murals at Cacaxtla, another site in the central Mexican highlands, were painted in a Maya style. This may have been either an effort to align itself with the still-powerful Maya area after the collapse of Teotihuacan and ensuing political fragmentation in the Mexican Highlands, or an attempt to express a distant Maya origin of the inhabitants. The Maya city of Chichen Itza and the distant Toltec capital of Tula had an especially close relationship.
Geography
The Maya civilization occupied a wide territory that included southeastern Mexico and northern Central America. This area included the entire Yucatán Peninsula and all of the territory now incorporated into the modern countries of Guatemala and Belize, as well as the western portions of Honduras and El Salvador. Most of the peninsula is formed by a vast plain with few hills or mountains and a generally low coastline.
The Petén region consists of densely forested low-lying limestone plain; a chain of fourteen lakes runs across the central drainage basin of Petén. To the south the plain gradually rises towards the Guatemalan Highlands. Dense forest covers northern Petén and Belize, most of Quintana Roo, southern Campeche, and a portion of the south of Yucatán state. Farther north, the vegetation turns to lower forest consisting of dense scrub.
The littoral zone of Soconusco lies to the south of the Sierra Madre de Chiapas, and consists of a narrow coastal plain and the foothills of the Sierra Madre. The Maya highlands extend eastwards from Chiapas into Guatemala, reaching their highest in the Sierra de los Cuchumatanes. The major pre-Columbian population centres of the highlands were located in the largest highland valleys, such as the Valley of Guatemala and the Quetzaltenango Valley. In the southern highlands, a belt of volcanic cones runs parallel to the Pacific coast. The highlands extend northwards into Verapaz, and gradually descend to the east.
History
The history of Maya civilization is divided into three principal periods: the Preclassic, Classic, and Postclassic periods. These were preceded by the Archaic Period, during which the first settled villages and early developments in agriculture emerged. Modern scholars regard these periods as arbitrary divisions of Maya chronology, rather than indicative of cultural evolution or decline. Definitions of the start and end dates of period spans can vary by as much as a century, depending on the author.
Preclassic period (c. 2000 BC – 250 AD)
The Maya developed their first civilization in the Preclassic period. Scholars continue to discuss when this era of Maya civilization began. Maya occupation at Cuello (modern-day Belize) has been carbon dated to around 2600 BC. Settlements were established around 1800 BC in the Soconusco region of the Pacific coast, and the Maya were already cultivating the staple crops of maize, beans, squash, and chili pepper. This period was characterised by sedentary communities and the introduction of pottery and fired clay figurines.
During the Middle Preclassic Period, small villages began to grow to form cities. Nakbe in the Petén department of Guatemala is the earliest well-documented city in the Maya lowlands, where large structures have been dated to around 750 BC. The northern lowlands of Yucatán were widely settled by the Middle Preclassic. By approximately 400 BC, early Maya rulers were raising stelae. A developed script was already being used in Petén by the 3rd century BC. In the Late Preclassic Period, the enormous city of El Mirador grew to cover approximately . Although not as large, Tikal was already a significant city by around 350 BC.
In the highlands, Kaminaljuyu emerged as a principal centre in the Late Preclassic. Takalik Abaj and Chocolá were two of the most important cities on the Pacific coastal plain, and Komchen grew to become an important site in northern Yucatán. The Late Preclassic cultural florescence collapsed in the 1st century AD and many of the great Maya cities of the epoch were abandoned; the cause of this collapse is unknown.
Classic period (c. 250–900 AD)
The Classic period is largely defined as the period during which the lowland Maya raised dated monuments using the Long Count calendar. This period marked the peak of large-scale construction and urbanism, the recording of monumental inscriptions, and demonstrated significant intellectual and artistic development, particularly in the southern lowland regions. The Classic period Maya political landscape has been likened to that of Renaissance Italy or Classical Greece, with multiple city-states engaged in a complex network of alliances and enmities. The largest cities had populations numbering 50,000 to 120,000 and were linked to networks of subsidiary sites.
During the Early Classic, cities throughout the Maya region were influenced by the great metropolis of Teotihuacan in the distant Valley of Mexico. In AD 378, Teotihuacan decisively intervened at Tikal and other nearby cities, deposed their rulers, and installed a new Teotihuacan-backed dynasty. This intervention was led by Siyaj Kʼakʼ ("Born of Fire"), who arrived at Tikal in early 378. The king of Tikal, Chak Tok Ichʼaak I, died on the same day, suggesting a violent takeover. A year later, Siyaj Kʼakʼ oversaw the installation of a new king, Yax Nuun Ahiin I. The installation of the new dynasty led to a period of political dominance when Tikal became the most powerful city in the central lowlands.
Tikal's great rival was Calakmul, another powerful city in the Petén Basin. Tikal and Calakmul both developed extensive systems of allies and vassals; lesser cities that entered one of these networks gained prestige from their association with the top-tier city, and maintained peaceful relations with other members of the same network. Tikal and Calakmul engaged in the manoeuvering of their alliance networks against each other. At various points during the Classic period, one or other of these powers would gain a strategic victory over its great rival, resulting in respective periods of florescence and decline.
In 629, Bʼalaj Chan Kʼawiil, a son of the Tikal king Kʼinich Muwaan Jol II, was sent to found a new city at Dos Pilas, in the Petexbatún region, apparently as an outpost to extend Tikal's power beyond the reach of Calakmul. For the next two decades he fought loyally for his brother and overlord at Tikal. In 648, king Yuknoom Chʼeen II of Calakmul captured Balaj Chan Kʼawiil. Yuknoom Chʼeen II then reinstated Balaj Chan Kʼawiil upon the throne of Dos Pilas as his vassal. He thereafter served as a loyal ally of Calakmul.
In the southeast, Copán was the most important city. Its Classic-period dynasty was founded in 426 by Kʼinich Yax Kʼukʼ Moʼ. The new king had strong ties with central Petén and Teotihuacan. Copán reached the height of its cultural and artistic development during the rule of Uaxaclajuun Ubʼaah Kʼawiil, who ruled from 695 to 738. His reign ended catastrophically when he was captured by his vassal, king Kʼakʼ Tiliw Chan Yopaat of Quiriguá. The captured lord of Copán was taken back to Quiriguá and was decapitated in a public ritual. It is likely that this coup was backed by Calakmul, in order to weaken a powerful ally of Tikal. Palenque and Yaxchilan were the most powerful cities in the Usumacinta region. In the highlands, Kaminaljuyu in the Valley of Guatemala was already a sprawling city by 300. In the north of the Maya area, Coba was the most important capital.
Classic Maya collapse
During the 9th century AD, the central Maya region suffered major political collapse, marked by the abandonment of cities, the ending of dynasties, and a northward shift in activity. No universally accepted theory explains this collapse, but it likely had a combination of causes, including endemic internecine warfare, overpopulation resulting in severe environmental degradation, and drought. During this period, known as the Terminal Classic, the northern cities of Chichen Itza and Uxmal showed increased activity. Major cities in the northern Yucatán Peninsula continued to be inhabited long after the cities of the southern lowlands ceased to raise monuments.
Classic Maya social organization was based on the ritual authority of the ruler, rather than central control of trade and food distribution. This model of rulership was poorly structured to respond to changes, because the ruler's actions were limited by tradition to such activities as construction, ritual, and warfare. This only served to exacerbate systemic problems. By the 9th and 10th centuries, this resulted in collapse of this system of rulership. In the northern Yucatán, individual rule was replaced by a ruling council formed from elite lineages. In the southern Yucatán and central Petén, kingdoms declined; in western Petén and some other areas, the changes were catastrophic and resulted in the rapid depopulation of cities. Within a couple of generations, large swathes of the central Maya area were all but abandoned. Both the capitals and their secondary centres were generally abandoned within a period of 50 to 100 years. One by one, cities stopped sculpting dated monuments; the last Long Count date was inscribed at Toniná in 909. Stelae were no longer raised, and squatters moved into abandoned royal palaces. Mesoamerican trade routes shifted and bypassed Petén.
Postclassic period (c. 950–1539 AD)
Although much reduced, a significant Maya presence remained into the Postclassic period after the abandonment of the major Classic period cities; the population was particularly concentrated near permanent water sources. Unlike during previous cycles of contraction in the Maya region, abandoned lands were not quickly resettled in the Postclassic. Activity shifted to the northern lowlands and the Maya Highlands; this may have involved migration from the southern lowlands, because many Postclassic Maya groups had migration myths. Chichen Itza and its Puuc neighbours declined dramatically in the 11th century, and this may represent the final episode of Classic Period collapse. After the decline of Chichen Itza, the Maya region lacked a dominant power until the rise of the city of Mayapan in the 12th century. New cities arose near the Caribbean and Gulf coasts, and new trade networks were formed.
The Postclassic Period was marked by changes from the preceding Classic Period. The once-great city of Kaminaljuyu in the Valley of Guatemala was abandoned after continuous occupation of almost 2,000 years. Across the highlands and neighbouring Pacific coast, long-occupied cities in exposed locations were relocated, apparently due to a proliferation of warfare. Cities came to occupy more-easily defended hilltop locations surrounded by deep ravines, with ditch-and-wall defences sometimes supplementing the protection provided by the natural terrain. One of the most important cities in the Guatemalan Highlands at this time was Qʼumarkaj, the capital of the aggressive Kʼicheʼ kingdom. The government of Maya states, from the Yucatán to the Guatemalan highlands, was often organised as joint rule by a council. However, in practice one member of the council could act as a supreme ruler, while the other members served him as advisors.
Mayapan was abandoned around 1448, after a period of political, social and environmental turbulence that in many ways echoed the Classic period collapse in the southern Maya region. The abandonment of the city was followed by a period of prolonged warfare, disease and natural disasters in the Yucatán Peninsula, which ended only shortly before Spanish contact in 1511. Even without a dominant regional capital, the early Spanish explorers reported wealthy coastal cities and thriving marketplaces. During the Late Postclassic, the Yucatán Peninsula was divided into a number of independent provinces that shared a common culture but varied in internal sociopolitical organization. On the eve of the Spanish conquest, the highlands of Guatemala were dominated by several powerful Maya states. The Kʼicheʼ had carved out a small empire covering a large part of the western Guatemalan Highlands and the neighbouring Pacific coastal plain. However, in the decades before the Spanish invasion the Kaqchikel kingdom had been steadily eroding the kingdom of the Kʼicheʼ.
Contact period and Spanish conquest (1511–1697 AD)
In 1511, a Spanish caravel was wrecked in the Caribbean, and about a dozen survivors made landfall on the coast of Yucatán. They were seized by a Maya lord, and most were sacrificed, although two managed to escape. From 1517 to 1519, three separate Spanish expeditions explored the Yucatán coast, and engaged in a number of battles with the Maya inhabitants. After the Aztec capital Tenochtitlan fell to the Spanish in 1521, Hernán Cortés despatched Pedro de Alvarado to Guatemala with 180 cavalry, 300 infantry, 4 cannons, and thousands of allied warriors from central Mexico; they arrived in Soconusco in 1523. The Kʼicheʼ capital, Qʼumarkaj, fell to Alvarado in 1524. Shortly afterwards, the Spanish were invited as allies into Iximche, the capital city of the Kaqchikel Maya. Good relations did not last, due to excessive Spanish demands for gold as tribute, and the city was abandoned a few months later. This was followed by the fall of Zaculeu, the Mam Maya capital, in 1525. Francisco de Montejo and his son, Francisco de Montejo the Younger, launched a long series of campaigns against the polities of the Yucatán Peninsula in 1527, and finally completed the conquest of the northern portion of the peninsula in 1546. This left only the Maya kingdoms of the Petén Basin independent. In 1697, Martín de Ursúa launched an assault on the Itza capital Nojpetén and the last independent Maya city fell to the Spanish.
Persistence of Maya culture
The Spanish conquest stripped away most of the defining features of Maya civilization. However, many Maya villages remained remote from Spanish colonial authority, and for the most part continued to manage their own affairs. Maya communities and the nuclear family maintained their traditional day-to-day life. The basic Mesoamerican diet of maize and beans continued, although agricultural output was improved by the introduction of steel tools. Traditional crafts such as weaving, ceramics, and basketry continued to be practised. Community markets and trade in local products continued long after the conquest. At times, the colonial administration encouraged the traditional economy in order to extract tribute in the form of ceramics or cotton textiles, although these were usually made to European specifications. Maya beliefs and language proved resistant to change, despite vigorous efforts by Catholic missionaries. The 260-day tzolkʼin ritual calendar continues in use in modern Maya communities in the highlands of Guatemala and Chiapas, and millions of Mayan-language speakers inhabit the territory in which their ancestors developed their civilization.
Investigation of Maya civilization
The agents of the Catholic Church wrote detailed accounts of the Maya, in support of their efforts at Christianization, and absorption of the Maya into the Spanish Empire. This was followed by various Spanish priests and colonial officials who left descriptions of ruins they visited in Yucatán and Central America. In 1839, American traveller and writer John Lloyd Stephens set out to visit a number of Maya sites with English architect and draftsman Frederick Catherwood. Their illustrated accounts of the ruins sparked strong popular interest, and brought the Maya to the attention of the world. The later 19th century saw the recording and recovery of ethnohistoric accounts of the Maya, and the first steps in deciphering Maya hieroglyphs.
The final two decades of the 19th century saw the birth of modern scientific archaeology in the Maya region, with the meticulous work of Alfred Maudslay and Teoberto Maler. By the early 20th century, the Peabody Museum was sponsoring excavations at Copán and in the Yucatán Peninsula. In the first two decades of the 20th century, advances were made in deciphering the Maya calendar, and identifying deities, dates, and religious concepts. Since the 1930s, archaeological exploration increased dramatically, with large-scale excavations across the Maya region.
In the 1960s, the distinguished Mayanist J. Eric S. Thompson promoted the ideas that Maya cities were essentially vacant ceremonial centres serving a dispersed population in the forest, and that the Maya civilization was governed by peaceful astronomer-priests. These ideas began to collapse with major advances in the decipherment of the script in the late 20th century, pioneered by Heinrich Berlin, Tatiana Proskouriakoff, and Yuri Knorozov. With breakthroughs in understanding of Maya script since the 1950s, the texts revealed the warlike activities of the Classic Maya kings, and the view of the Maya as peaceful could no longer be supported.
Politics
Unlike the Aztecs and the Inca, the Maya political system never integrated the entire Maya cultural area into a single state or empire. Rather, throughout its history, the Maya area contained a varying mix of political complexity that included both states and chiefdoms. These polities fluctuated greatly in their relationships with each other and were engaged in a complex web of rivalries, periods of dominance or submission, vassalage, and alliances. At times, different polities achieved regional dominance, such as Calakmul, Caracol, Mayapan, and Tikal. The first reliably evidenced polities formed in the Maya lowlands in the 9th century BC.
During the Late Preclassic, the Maya political system coalesced into a theopolitical form, where elite ideology justified the ruler's authority, and was reinforced by public display, ritual, and religion. The divine king was the centre of political power, exercising ultimate control over the administrative, economic, judicial, and military functions of the polity. The divine authority invested within the ruler was such that the king was able to mobilize both the aristocracy and commoners in executing huge infrastructure projects, apparently with no police force or standing army. Some polities engaged in a strategy of increasing administration, and filling administrative posts with loyal supporters rather than blood relatives. Within a polity, mid-ranking population centres would have played a key role in managing resources and internal conflict.
The Maya political landscape was highly complex and Maya elites engaged in political intrigue to gain economic and social advantage over neighbours. In the Late Classic, some cities established a long period of dominance over other large cities, such as the dominance of Caracol over Naranjo for half a century. In other cases, loose alliance networks were formed around a dominant city. Border settlements, usually located about halfway between neighbouring capitals, often switched allegiance over the course of their history, and at times acted independently. Dominant capitals exacted tribute in the form of luxury items from subjugated population centres. Political power was reinforced by military power, and the capture and humiliation of enemy warriors played an important part in elite culture. An overriding sense of pride and honour among the warrior aristocracy could lead to extended feuds and vendettas, which caused political instability and the fragmentation of polities.
Society
From the Early Preclassic, Maya society was sharply divided between the elite and commoners. As population increased over time, various sectors of society became increasingly specialised, and political organization became increasingly complex. By the Late Classic, when populations had grown enormously and hundreds of cities were connected in a complex web of political hierarchies, the wealthy segment of society multiplied. A middle class may have developed that included artisans, low ranking priests and officials, merchants, and soldiers. Commoners included farmers, servants, labourers, and slaves. According to indigenous histories, land was held communally by noble houses or clans. Such clans held that the land was the property of the clan ancestors, and such ties between the land and the ancestors were reinforced by the burial of the dead within residential compounds.
King and court
Classic Maya rule was centred in a royal culture that was displayed in all areas of Classic Maya art. The king was the supreme ruler and held a semi-divine status that made him the mediator between the mortal realm and that of the gods. From very early times, kings were specifically identified with the young maize god, whose gift of maize was the basis of Mesoamerican civilization. Maya royal succession was patrilineal, and royal power only passed to queens when doing otherwise would result in the extinction of the dynasty. Typically, power was passed to the eldest son. A young prince was called a chʼok ("youth"), although this word later came to refer to nobility in general. The royal heir was called bʼaah chʼok ("head youth"). Various points in the young prince's childhood were marked by ritual; the most important was a bloodletting ceremony at age five or six years. Although being of the royal bloodline was of utmost importance, the heir also had to be a successful war leader, as demonstrated by taking of captives. The enthronement of a new king was a highly elaborate ceremony, involving a series of separate acts that included enthronement upon a jaguar-skin cushion, human sacrifice, and receiving the symbols of royal power, such as a headband bearing a jade representation of the so-called "jester god", an elaborate headdress adorned with quetzal feathers, and a sceptre representing the god Kʼawiil.
Maya political administration, based around the royal court, was not bureaucratic in nature. Government was hierarchical, and official posts were sponsored by higher-ranking members of the aristocracy; officials tended to be promoted to higher levels of office during the course of their lives. Officials are referred to as being "owned" by their sponsor, and this relationship continued even after the death of the sponsor. The Maya royal court was a vibrant and dynamic political institution. There was no universal structure for the Maya royal court, instead each polity formed a royal court that was suited to its own individual context. A number of royal and noble titles have been identified by epigraphers translating Classic Maya inscriptions. Ajaw is usually translated as "lord" or "king". In the Early Classic, an ajaw was the ruler of a city. Later, with increasing social complexity, the ajaw was a member of the ruling class and a major city could have more than one, each ruling over different districts. Paramount rulers distinguished themselves from the extended nobility by prefixing the word kʼuhul to their ajaw title. A kʼuhul ajaw was "divine lord", originally confined to the kings of the most prestigious and ancient royal lines. Kalomte was a royal title, whose exact meaning is not yet deciphered, but it was held only by the most powerful kings of the strongest dynasties. It indicated an overlord, or high king, and the title was only in use during the Classic period. By the Late Classic, the absolute power of the kʼuhul ajaw had weakened, and the political system had diversified to include a wider aristocracy, that by this time may well have expanded disproportionately.
A sajal was ranked below the ajaw, and indicated a subservient lord. A sajal would be lord of a second- or third-tier site, answering to an ajaw, who may himself have been subservient to a kalomte. A sajal would often be a war captain or regional governor, and inscriptions often link the sajal title to warfare; they are often mentioned as the holders of war captives. Sajal meant "feared one". The titles of ah tzʼihb and ah chʼul hun are both related to scribes. The ah tzʼihb was a royal scribe, usually a member of the royal family; the ah chʼul hun was the Keeper of the Holy Books, a title that is closely associated with the ajaw title, indicating that an ajaw always held the ah chʼul hun title simultaneously. Other courtly titles, the functions of which are not well understood, were yajaw kʼahk''' ("Lord of Fire"), tiʼhuun and ti'sakhuun. These last two may be variations on the same title, and Mark Zender has suggested that the holder of this title may have been the spokesman for the ruler. Courtly titles are overwhelmingly male-oriented, and in those relatively rare occasions where they are applied to a woman, they appear to be used as honorifics for female royalty. Titled elites were often associated with particular structures in the hieroglyphic inscriptions of Classic period cities, indicating that such office holders either owned that structure, or that the structure was an important focus for their activities. A lakam, or standard-bearer, was possibly the only non-elite post-holder in the royal court. The lakam was only found in larger sites, and they appear to have been responsible for the taxation of local districts.
Different factions may have existed in the royal court. The kʼuhul ahaw and his household would have formed the central power-base, but other important groups were the priesthood, the warrior aristocracy, and other aristocratic courtiers. Where ruling councils existed, as at Chichen Itza and Copán, these may have formed an additional faction. Rivalry between different factions would have led to dynamic political institutions as compromises and disagreements were played out. In such a setting, public performance was vital. Such performances included ritual dances, presentation of war captives, offerings of tribute, human sacrifice, and religious ritual.
Commoners
Commoners are estimated to have comprised over 90% of the population, but relatively little is known about them. Their houses were generally constructed from perishable materials, and their remains have left little trace in the archaeological record. Some commoner dwellings were raised on low platforms, and these can be identified, but an unknown quantity of commoner houses were not. Such low-status dwellings can only be detected by extensive remote-sensing surveys of apparently empty terrain. The range of commoners was broad; it consisted of everyone not of noble birth, and therefore included everyone from the poorest farmers to wealthy craftsmen and commoners appointed to bureaucratic positions. Commoners engaged in essential production activities, including that of products destined for use by the elite, such as cotton and cacao, as well as subsistence crops for their own use, and utilitarian items such as ceramics and stone tools. Commoners took part in warfare, and could advance socially by proving themselves as outstanding warriors. Commoners paid taxes to the elite in the form of staple goods such as maize, flour and game. It is likely that hard-working commoners who displayed exceptional skills and initiative could become influential members of Maya society.
Warfare
Warfare was prevalent in the Maya world. Military campaigns were launched for a variety of reasons, including the control of trade routes and tribute, raids to take captives, scaling up to the complete destruction of an enemy state. Little is known about Maya military organization, logistics, or training. Warfare is depicted in Maya art from the Classic period, and wars and victories are mentioned in hieroglyphic inscriptions. Unfortunately, the inscriptions do not provide information upon the causes of war, or the form it took. In the 8th–9th centuries, intensive warfare resulted in the collapse of the kingdoms of the Petexbatún region of western Petén. The rapid abandonment of Aguateca by its inhabitants has provided a rare opportunity to examine the remains of Maya weaponry in situ. Aguateca was stormed by unknown enemies around 810 AD, who overcame its formidable defences and burned the royal palace. The elite inhabitants of the city either fled or were captured, and never returned to collect their abandoned property. The inhabitants of the periphery abandoned the site soon after. This is an example of intensive warfare carried out by an enemy in order to eliminate a Maya state, rather than subjugate it. Research at Aguateca indicated that Classic period warriors were primarily members of the elite.
From as early as the Preclassic period, the ruler of a Maya polity was expected to be a distinguished war leader, and was depicted with trophy heads hanging from his belt. In the Classic period, such trophy heads no longer appeared on the king's belt, but Classic period kings are frequently depicted standing over humiliated war captives. Right up to the end of the Postclassic period, Maya kings led as war captains. Maya inscriptions from the Classic show that a defeated king could be captured, tortured, and sacrificed. The Spanish recorded that Maya leaders kept track of troop movements in painted books.
The outcome of a successful military campaign could vary in its impact on the defeated polity. In some cases, entire cities were sacked, and never resettled, as at Aguateca. In other instances, the victors would seize the defeated rulers, their families, and patron gods. The captured nobles and their families could be imprisoned, or sacrificed. At the least severe end of the scale, the defeated polity would be obliged to pay tribute to the victor.
Warriors
During the Contact period, it is known that certain military positions were held by members of the aristocracy, and were passed on by patrilineal succession. It is likely that the specialised knowledge inherent in the particular military role was taught to the successor, including strategy, ritual, and war dances. Maya armies of the Contact period were highly disciplined, and warriors participated in regular training exercises and drills; every able-bodied adult male was available for military service. Maya states did not maintain standing armies; warriors were mustered by local officials who reported back to appointed warleaders. There were also units of full-time mercenaries who followed permanent leaders. Most warriors were not full-time, however, and were primarily farmers; the needs of their crops usually came before warfare. Maya warfare was not so much aimed at destruction of the enemy as the seizure of captives and plunder.
There is some evidence from the Classic period that women provided supporting roles in war, but they did not act as military officers with the exception of those rare ruling queens. By the Postclassic, the native chronicles suggest that women occasionally fought in battle.
Weapons
The atlatl (spear-thrower) was introduced to the Maya region by Teotihuacan in the Early Classic. This was a stick with a notched end to hold a dart or javelin. The stick was used to launch the missile with more force and accuracy than could be accomplished by simply hurling it with the arm alone. Evidence in the form of stone blade points recovered from Aguateca indicate that darts and spears were the primary weapons of the Classic Maya warrior. Commoners used blowguns in war, which also served as their hunting weapon. The bow and arrow is another weapon that was used by the ancient Maya for both war and hunting. Although present in the Maya region during the Classic period, its use as a weapon of war was not favoured; it did not become a common weapon until the Postclassic. The Contact period Maya also used two-handed swords crafted from strong wood with the blade fashioned from inset obsidian, similar to the Aztec macuahuitl. Maya warriors wore body armour in the form of quilted cotton that had been soaked in salt water to toughen it; the resulting armour compared favourably to the steel armour worn by the Spanish when they conquered the region. Warriors bore wooden or animal hide shields decorated with feathers and animal skins.
Trade
Trade was a key component of Maya society, and in the development of the Maya civilization. The cities that grew to become the most important usually controlled access to vital trade goods, or portage routes. Cities such as Kaminaljuyu and Qʼumarkaj in the Guatemalan Highlands, and Chalchuapa in El Salvador, variously controlled access to the sources of obsidian at different points in Maya history. The Maya were major producers of cotton, which was used to make the textiles to be traded throughout Mesoamerica. The most important cities in the northern Yucatán Peninsula controlled access to the sources of salt. In the Postclassic, the Maya engaged in a flourishing slave trade with wider Mesoamerica.
The Maya engaged in long-distance trade across the Maya region, and across greater Mesoamerica and beyond. As an illustration, an Early Classic Maya merchant quarter has been identified at the distant metropolis of Teotihuacan, in central Mexico. Within Mesoamerica beyond the Maya area, trade routes particularly focused on central Mexico and the Gulf coast. In the Early Classic, Chichen Itza was at the hub of an extensive trade network that imported gold discs from Colombia and Panama, and turquoise from Los Cerrillos, New Mexico. Long-distance trade of both luxury and utilitarian goods was probably controlled by the royal family. Prestige goods obtained by trade were used both for consumption by the city's ruler, and as luxury gifts to consolidate the loyalty of vassals and allies.
Trade routes not only supplied physical goods, they facilitated the movement of people and ideas throughout Mesoamerica. Shifts in trade routes occurred with the rise and fall of important cities in the Maya region, and have been identified in every major reorganization of the Maya civilization, such as the rise of Preclassic Maya civilization, the transition to the Classic, and the Terminal Classic collapse. Even the Spanish Conquest did not immediately terminate all Maya trading activity; for example, the Contact period Manche Chʼol traded the prestige crops of cacao, annatto and vanilla into colonial Verapaz.
Merchants
Little is known of Maya merchants, although they are depicted on Maya ceramics in elaborate noble dress. From this, it is known that at least some traders were members of the elite. During the Contact period, it is known that Maya nobility took part in long-distance trading expeditions. The majority of traders were middle class, but were largely engaged in local and regional trade rather than the prestigious long-distance trading that was the preserve of the elite. The travelling of merchants into dangerous foreign territory was likened to a passage through the underworld; the patron deities of merchants were two underworld gods carrying backpacks. When merchants travelled, they painted themselves black, like their patron gods, and went heavily armed.
The Maya had no pack animals, so all trade goods were carried on the backs of porters when going overland; if the trade route followed a river or the coast, then goods were transported in canoes. A substantial Maya trading canoe was encountered off Honduras on Christopher Columbus's fourth voyage. It was made from a large hollowed-out tree trunk and had a palm-covered canopy. The canoe was broad and was powered by 25 rowers. Trade goods carried included cacao, obsidian, ceramics, textiles, food and drink for the crew, and copper bells and axes. Cacao was used as currency (although not exclusively), and its value was such that counterfeiting occurred by removing the flesh from the pod, and stuffing it with dirt or avocado rind.
Marketplaces
Marketplaces are difficult to identify archaeologically. However, the Spanish reported a thriving market economy when they arrived in the region. At some Classic period cities, archaeologists have tentatively identified formal arcade-style masonry architecture and parallel alignments of scattered stones as the permanent foundations of market stalls. A 2007 study analysed soils from a modern Guatemalan market and compared the results with those obtained from analysis at a proposed ancient market at Chunchucmil. Unusually high levels of zinc and phosphorus at both sites indicated similar food production and vegetable sales activity. The calculated density of market stalls at Chunchucmil strongly suggests that a thriving market economy already existed in the Early Classic. Archaeologists have tentatively identified marketplaces at an increasing number of Maya cities by means of a combination of archaeology and soil analysis. When the Spanish arrived, Postclassic cities in the highlands had markets in permanent plazas, with officials on hand to settle disputes, enforce rules, and collect taxes.
Art
Maya art is essentially the art of the royal court. It is almost exclusively concerned with the Maya elite and their world. Maya art was crafted from both perishable and non-perishable materials, and served to link the Maya to their ancestors. Although surviving Maya art represents only a small proportion of the art that the Maya created, it represents a wider variety of subjects than any other art tradition in the Americas. Maya art has many regional styles, and is unique in the ancient Americas in bearing narrative text. The finest surviving Maya art dates to the Late Classic period.
The Maya exhibited a preference for the colour green or blue-green, and used the same word for the colours blue and green. Correspondingly, they placed high value on apple-green jade, and other greenstones, associating them with the sun-god Kʼinich Ajau. They sculpted artefacts that included fine tesserae and beads, to carved heads weighing . The Maya nobility practised dental modification, and some lords wore encrusted jade in their teeth. Mosaic funerary masks could also be fashioned from jade, such as that of Kʼinich Janaabʼ Pakal, king of Palenque.
Maya stone sculpture emerged into the archaeological record as a fully developed tradition, suggesting that it may have evolved from a tradition of sculpting wood. Because of the biodegradability of wood, the corpus of Maya woodwork has almost entirely disappeared. The few wooden artefacts that have survived include three-dimensional sculptures, and hieroglyphic panels. Stone Maya stelae are widespread in city sites, often paired with low, circular stones referred to as altars in the literature. Stone sculpture also took other forms, such as the limestone relief panels at Palenque and Piedras Negras. At Yaxchilan, Dos Pilas, Copán, and other sites, stone stairways were decorated with sculpture. The hieroglyphic stairway at Copán comprises the longest surviving Maya hieroglyphic text, and consists of 2,200 individual glyphs.
The largest Maya sculptures consisted of architectural façades crafted from stucco. The rough form was laid out on a plain plaster base coating on the wall, and the three-dimensional form was built up using small stones. Finally, this was coated with stucco and moulded into the finished form; human body forms were first modelled in stucco, with their costumes added afterwards. The final stucco sculpture was then brightly painted. Giant stucco masks were used to adorn temple façades by the Late Preclassic, and such decoration continued into the Classic period.
The Maya had a long tradition of mural painting; rich polychrome murals have been excavated at San Bartolo, dating to between 300 and 200 BC. Walls were coated with plaster, and polychrome designs were painted onto the smooth finish. The majority of such murals have not survived, but Early Classic tombs painted in cream, red, and black have been excavated at Caracol, Río Azul, and Tikal. Among the best preserved murals are a full-size series of Late Classic paintings at Bonampak.
Flint, chert, and obsidian all served utilitarian purposes in Maya culture, but many pieces were finely crafted into forms that were never intended to be used as tools. Eccentric flints are among the finest lithic artefacts produced by the ancient Maya. They were technically very challenging to produce, requiring considerable skill on the part of the artisan. Large obsidian eccentrics can measure over in length. Their actual form varies considerably but they generally depict human, animal and geometric forms associated with Maya religion. Eccentric flints show a great variety of forms, such as crescents, crosses, snakes, and scorpions. The largest and most elaborate examples display multiple human heads, with minor heads sometimes branching off from larger one.
Maya textiles are very poorly represented in the archaeological record, although by comparison with other pre-Columbian cultures, such as the Aztecs and the Andean region, it is likely that they were high-value items. A few scraps of textile have been recovered by archaeologists, but the best evidence for textile art is where they are represented in other media, such as painted murals or ceramics. Such secondary representations show the elite of the Maya court adorned with sumptuous cloths, generally these would have been cotton, but jaguar pelts and deer hides are also shown.
Ceramics are the most commonly surviving type of Maya art. The Maya had no knowledge of the potter's wheel, and Maya vessels were built up by coiling rolled strips of clay into the desired form. Maya pottery was not glazed, although it often had a fine finish produced by burnishing. Maya ceramics were painted with clay slips blended with minerals and coloured clays. Ancient Maya firing techniques have yet to be replicated. A quantity of extremely fine ceramic figurines have been excavated from Late Classic tombs on Jaina Island, in northern Yucatán. They stand from high and were hand modelled, with exquisite detail. The Ik-style polychrome ceramic corpus, including finely painted plates and cylindrical vessels, originated in Late Classic Motul de San José. It includes a set of features such as hieroglyphs painted in a pink or pale red colour and scenes with dancers wearing masks. One of the most distinctive features is the realistic representation of subjects as they appeared in life. The subject matter of the vessels includes courtly life from the Petén region in the 8th century AD, such as diplomatic meetings, feasting, bloodletting, scenes of warriors and the sacrifice of prisoners of war.
Bone, both human and animal, was also sculpted; human bones may have been trophies, or relics of ancestors. The Maya valued Spondylus shells, and worked them to remove the white exterior and spines, to reveal the fine orange interior. Around the 10th century AD, metallurgy arrived in Mesoamerica from South America, and the Maya began to make small objects in gold, silver and copper. The Maya generally hammered sheet metal into objects such as beads, bells, and discs. In the last centuries before the Spanish Conquest, the Maya began to use the lost-wax method to cast small metal pieces.
One poorly studied area of Maya folk art is graffiti. Additional graffiti, not part of the planned decoration, was incised into the stucco of interior walls, floors, and benches, in a wide variety of buildings, including temples, residences, and storerooms. Graffiti has been recorded at 51 Maya sites, particularly clustered in the Petén Basin and southern Campeche, and the Chenes region of northwestern Yucatán. At Tikal, where a great quantity of graffiti has been recorded, the subject matter includes drawings of temples, people, deities, animals, banners, litters, and thrones. Graffiti was often inscribed haphazardly, with drawings overlapping each other, and display a mix of crude, untrained art, and examples by artists who were familiar with Classic-period artistic conventions.
Architecture
The Maya produced a vast array of structures, and have left an extensive architectural legacy. Maya architecture also incorporates various art forms and hieroglyphic texts. Masonry architecture built by the Maya evidences craft specialization in Maya society, centralised organization and the political means to mobilize a large workforce. It is estimated that a large elite residence at Copán required an estimated 10,686 man-days to build, which compares to 67-man-days for a commoner's hut. It is further estimated that 65% of the labour required to build the noble residence was used in the quarrying, transporting, and finishing of the stone used in construction, and 24% of the labour was required for the manufacture and application of limestone-based plaster. Altogether, it is estimated that two to three months were required for the construction of the residence for this single noble at Copán, using between 80 and 130 full-time labourers. A Classic-period city like Tikal was spread over , with an urban core covering . The labour required to build such a city was immense, running into many millions of man-days. The most massive structures ever erected by the Maya were built during the Preclassic period. Craft specialization would have required dedicated stonemasons and plasterers by the Late Preclassic, and would have required planners and architects.
Urban design
Maya cities were not formally planned, and were subject to irregular expansion, with the haphazard addition of palaces, temples and other buildings. Most Maya cities tended to grow outwards from the core, and upwards as new structures were superimposed upon preceding architecture. Maya cities usually had a ceremonial and administrative centre surrounded by a vast irregular sprawl of residential complexes. The centres of all Maya cities featured sacred precincts, sometimes separated from nearby residential areas by walls. These precincts contained pyramid temples and other monumental architecture dedicated to elite activities, such as basal platforms that supported administrative or elite residential complexes. Sculpted monuments were raised to record the deeds of the ruling dynasty. City centres also featured plazas, sacred ballcourts and buildings used for marketplaces and schools. Frequently causeways linked the centre to outlying areas of the city. Some of these classes of architecture formed lesser groups in the outlying areas of the city, which served as sacred centres for non-royal lineages. The areas adjacent to these sacred compounds included residential complexes housing wealthy lineages. The largest and richest of these elite compounds sometimes possessed sculpture and art of craftsmanship equal to that of royal art.
The ceremonial centre of the Maya city was where the ruling elite lived, and where the administrative functions of the city were performed, together with religious ceremonies. It was also where the inhabitants of the city gathered for public activities. Elite residential complexes occupied the best land around the city centre, while commoners had their residences dispersed further away from the ceremonial centre. Residential units were built on top of stone platforms to raise them above the level of the rain season floodwaters.
Building materials and methods
The Maya built their cities with Neolithic technology; they built their structures from both perishable materials and from stone. The exact type of stone used in masonry construction varied according to locally available resources, and this also affected the building style. Across a broad swathe of the Maya area, limestone was immediately available. The local limestone is relatively soft when freshly cut, but hardens with exposure. There was great variety in the quality of limestone, with good-quality stone available in the Usumacinta region; in the northern Yucatán, the limestone used in construction was of relatively poor quality. Volcanic tuff was used at Copán, and nearby Quiriguá employed sandstone. In Comalcalco, where suitable stone was not available locally, fired bricks were employed. Limestone was burned at high temperatures in order to manufacture cement, plaster, and stucco. Lime-based cement was used to seal stonework in place, and stone blocks were fashioned using rope-and-water abrasion, and with obsidian tools. The Maya did not employ a functional wheel, so all loads were transported on litters, barges, or rolled on logs. Heavy loads were lifted with rope, but probably without employing pulleys.
Wood was used for beams, and for lintels, even in masonry structures. Throughout Maya history, common huts and some temples continued to be built from wooden poles and thatch. Adobe was also applied; this consisted of mud strengthened with straw and was applied as a coating over the woven-stick walls of huts. Like wood and thatch, adobe was used throughout Maya history, even after the development of masonry structures. In the southern Maya area, adobe was employed in monumental architecture when no suitable stone was locally available.
Principal construction types
The great cities of the Maya civilization were composed of pyramid temples, palaces, ballcourts, sacbeob (causeways), patios and plazas. Some cities also possessed extensive hydraulic systems or defensive walls. The exteriors of most buildings were painted, either in one or multiple colours, or with imagery. Many buildings were adorned with sculpture or painted stucco reliefs.
Palaces and acropoleis
These complexes were usually located in the site core, beside a principal plaza. Maya palaces consisted of a platform supporting a multiroom range structure. The term acropolis, in a Maya context, refers to a complex of structures built upon platforms of varying height. Palaces and acropoleis were essentially elite residential compounds. They generally extended horizontally as opposed to the towering Maya pyramids, and often had restricted access. Some structures in Maya acropoleis supported roof combs. Rooms often had stone benches, used for sleeping, and holes indicate where curtains once hung. Large palaces, such as at Palenque, could be fitted with a water supply, and sweat baths were often found within the complex, or nearby. During the Early Classic, rulers were sometimes buried underneath the acropolis complex. Some rooms in palaces were true throne rooms; in the royal palace of Palenque there were a number of throne rooms that were used for important events, including the inauguration of new kings.
Palaces are usually arranged around one or more courtyards, with their façades facing inwards; some examples are adorned with sculpture. Some palaces possess associated hieroglyphic descriptions that identify them as the royal residences of named rulers. There is abundant evidence that palaces were far more than simple elite residences, and that a range of courtly activities took place in them, including audiences, formal receptions, and important rituals.
Pyramids and temples
Temples were sometimes referred to in hieroglyphic texts as kʼuh nah, meaning "god's house". Temples were raised on platforms, most often upon a pyramid. The earliest temples were probably thatched huts built upon low platforms. By the Late Preclassic period, their walls were of stone, and the development of the corbel arch allowed stone roofs to replace thatch. By the Classic period, temple roofs were being topped with roof combs that extended the height of the temple and served as a foundation for monumental art. The temple shrines contained between one and three rooms, and were dedicated to important deities. Such a deity might be one of the patron gods of the city, or a deified ancestor. In general, freestanding pyramids were shrines honouring powerful ancestors.
E-Groups and observatories
The Maya were keen observers of the sun, stars, and planets. E-Groups were a particular arrangement of temples that were relatively common in the Maya region; they take their names from Group E at Uaxactun. They consisted of three small structures facing a fourth structure, and were used to mark the solstices and equinoxes. The earliest examples date to the Preclassic period. The Lost World complex at Tikal started out as an E-Group built towards the end of the Middle Preclassic. Due to its nature, the basic layout of an E-Group was constant. A structure was built on the west side of a plaza; it was usually a radial pyramid with stairways facing the cardinal directions. It faced east across the plaza to three small temples on the far side. From the west pyramid, the sun was seen to rise over these temples on the solstices and equinoxes. E-Groups were raised across the central and southern Maya area for over a millennium; not all were properly aligned as observatories, and their function may have been symbolic.
As well as E-Groups, the Maya built other structures dedicated to observing the movements of celestial bodies. Many Maya buildings were aligned with astronomical bodies, including the planet Venus, and various constellations. The Caracol structure at Chichen Itza was a circular multi-level edifice, with a conical superstructure. It has slit windows that marked the movements of Venus. At Copán, a pair of stelae were raised to mark the position of the setting sun at the equinoxes.
Triadic pyramids
Triadic pyramids first appeared in the Preclassic. They consisted of a dominant structure flanked by two smaller inward-facing buildings, all mounted upon a single basal platform. The largest known triadic pyramid was built at El Mirador in the Petén Basin; it covers an area six times as large as that covered by Temple IV, the largest pyramid at Tikal. The three superstructures all have stairways leading up from the central plaza on top of the basal platform. No securely established forerunners of Triadic Groups are known, but they may have developed from the eastern range building of E-Group complexes. The triadic form was the predominant architectural form in the Petén region during the Late Preclassic. Examples of triadic pyramids are known from as many as 88 archaeological sites. At Nakbe, there are at least a dozen examples of triadic complexes and the four largest structures in the city are triadic in nature. At El Mirador there are probably as many as 36 triadic structures. Examples of the triadic form are even known from Dzibilchaltun in the far north of the Yucatán Peninsula, and Qʼumarkaj in the Highlands of Guatemala. The triadic pyramid remained a popular architectural form for centuries after the first examples were built; it continued in use into the Classic Period, with later examples being found at Uaxactun, Caracol, Seibal, Nakum, Tikal and Palenque. The Qʼumarkaj example is the only one that has been dated to the Postclassic Period. The triple-temple form of the triadic pyramid appears to be related to Maya mythology.
Ballcourts
The ballcourt is a distinctive pan-Mesoamerican form of architecture. Although the majority of Maya ballcourts date to the Classic period, the earliest examples appeared around 1000 BC in northwestern Yucatán, during the Middle Preclassic. By the time of Spanish contact, ballcourts were only in use in the Guatemalan Highlands, at cities such as Qʼumarkaj and Iximche. Throughout Maya history, ballcourts maintained a characteristic form consisting of an ɪ shape, with a central playing area terminating in two transverse end zones. The central playing area usually measures between long, and is flanked by two lateral structures that stood up to high. The lateral platforms often supported structures that may have held privileged spectators. The Great Ballcourt at Chichen Itza is the largest in Mesoamerica, measuring long by wide, with walls standing high.
Regional architectural styles
Although Maya cities shared many common features, there was considerable variation in architectural style. Such styles were influenced by locally available construction materials, climate, topography, and local preferences. In the Late Classic, these local differences developed into distinctive regional architectural styles.
Central Petén
The central Petén style of architecture is modelled after the great city of Tikal. The style is characterised by tall pyramids supporting a summit shrine adorned with a roof comb, and accessed by a single doorway. Additional features are the use of stela-altar pairings, and the decoration of architectural façades, lintels, and roof combs with relief sculptures of rulers and gods. One of the finest examples of Central Petén style architecture is Tikal Temple I. Examples of sites in the Central Petén style include Altun Ha, Calakmul, Holmul, Ixkun, Nakum, Naranjo, and Yaxhá.
Puuc
The exemplar of Puuc-style architecture is Uxmal. The style developed in the Puuc Hills of northwestern Yucatán; during the Terminal Classic it spread beyond this core region across the northern Yucatán Peninsula. Puuc sites replaced rubble cores with lime cement, resulting in stronger walls, and also strengthened their corbel arches; this allowed Puuc-style cities to build freestanding entrance archways. The upper façades of buildings were decorated with precut stones mosaic-fashion, erected as facing over the core, forming elaborate compositions of long-nosed deities such as the rain god Chaac and the Principal Bird Deity. The motifs also included geometric patterns, lattices and spools, possibly influenced by styles from highland Oaxaca, outside the Maya area. In contrast, the lower façades were left undecorated. Roof combs were relatively uncommon at Puuc sites.
Chenes
The Chenes style is very similar to the Puuc style, but predates the use of the mosaic façades of the Puuc region. It featured fully adorned façades on both the upper and lower sections of structures. Some doorways were surrounded by mosaic masks of monsters representing mountain or sky deities, identifying the doorways as entrances to the supernatural realm. Some buildings contained interior stairways that accessed different levels. The Chenes style is most commonly encountered in the southern portion of the Yucatán Peninsula, although individual buildings in the style can be found elsewhere in the peninsula. Examples of Chenes sites include Dzibilnocac, Hochob, Santa Rosa Xtampak, and Tabasqueño.
Río Bec
The Río Bec style forms a sub-region of the Chenes style, and also features elements of the Central Petén style, such as prominent roof combs. Its palaces are distinctive for their false-tower decorations, lacking interior rooms, with steep, almost vertical, stairways and false doors. These towers were adorned with deity masks, and were built to impress the viewer, rather than serve any practical function. Such false towers are only found in the Río Bec region. Río Bec sites include Chicanná, Hormiguero, and Xpuhil.
Usumacinta
The Usumacinta style developed in the hilly terrain of the Usumacinta drainage. Cities took advantage of the hillsides to support their major architecture, as at Palenque and Yaxchilan. Sites modified corbel vaulting to allow thinner walls and multiple access doors to temples. As in Petén, roof combs adorned principal structures. Palaces had multiple entrances that used post-and-lintel entrances rather than corbel vaulting. Many sites erected stelae, but Palenque instead developed finely sculpted panelling to decorate its buildings.
Language
Before 2000 BC, the Maya spoke a single language, dubbed proto-Mayan by linguists. Linguistic analysis of reconstructed Proto-Mayan vocabulary suggests that the original Proto-Mayan homeland was in the western or northern Guatemalan Highlands, although the evidence is not conclusive. Proto-Mayan diverged during the Preclassic period to form the major Mayan language groups that make up the family, including Huastecan, Greater Kʼicheʼan, Greater Qʼanjobalan, Mamean, Tzʼeltalan-Chʼolan, and Yucatecan. These groups diverged further during the pre-Columbian era to form over 30 languages that have survived into modern times. The language of almost all Classic Maya texts over the entire Maya area has been identified as Chʼolan; Late Preclassic text from Kaminaljuyu, in the highlands, also appears to be in, or related to, Chʼolan. The use of Chʼolan as the language of Maya text does not necessarily indicate that it was the language commonly used by the local populace – it may have been equivalent to Medieval Latin as a ritual or prestige language. Classic Chʼolan may have been the prestige language of the Classic Maya elite, used in inter-polity communication such as diplomacy and trade. By the Postclassic period, Yucatec was also being written in Maya codices alongside Chʼolan.
Writing and literacy
The Maya writing system is one of the outstanding achievements of the pre-Columbian inhabitants of the Americas. It was the most sophisticated and highly developed writing system of more than a dozen systems that developed in Mesoamerica. The earliest inscriptions in an identifiably Maya script date back to 300–200 BC, in the Petén Basin. However, this is preceded by several other Mesoamerican writing systems, such as the Epi-Olmec and Zapotec scripts. Early Maya script had appeared on the Pacific coast of Guatemala by the late 1st century AD, or early 2nd century. Similarities between the Isthmian script and Early Maya script of the Pacific coast suggest that the two systems developed in tandem. By about AD 250, the Maya script had become a more formalised and consistent writing system.
The Catholic Church and colonial officials, notably Bishop Diego de Landa, destroyed Maya texts wherever they found them, and with them the knowledge of Maya writing, but by chance three uncontested pre-Columbian books dated to the Postclassic period have been preserved. These are known as the Madrid Codex, the Dresden Codex and the Paris Codex. A few pages survive from a fourth, the Grolier Codex, whose authenticity is disputed. Archaeology conducted at Maya sites often reveals other fragments, rectangular lumps of plaster and paint chips which were codices; these tantalizing remains are, however, too severely damaged for any inscriptions to have survived, most of the organic material having decayed. In reference to the few extant Maya writings, Michael D. Coe stated:
Most surviving pre-Columbian Maya writing dates to the Classic period and is contained in stone inscriptions from Maya sites, such as stelae, or on ceramics vessels. Other media include the aforementioned codices, stucco façades, frescoes, wooden lintels, cave walls, and portable artefacts crafted from a variety of materials, including bone, shell, obsidian, and jade.
Writing system
The Maya writing system (often called hieroglyphs from a superficial resemblance to Ancient Egyptian writing) is a logosyllabic writing system, combining a syllabary of phonetic signs representing syllables with logogram representing entire words.Tanaka 2008, pp. 30, 53. Among the writing systems of the Pre-Columbian New World, Maya script most closely represents the spoken language. At any one time, no more than around 500 glyphs were in use, some 200 of which (including variations) were phonetic.
The Maya script was in use up to the arrival of the Europeans, its use peaking during the Classic Period. In excess of 10,000 individual texts have been recovered, mostly inscribed on stone monuments, lintels, stelae and ceramics. The Maya also produced texts painted on a form of paper manufactured from processed tree-bark generally now known by its Nahuatl-language name amatl used to produce codices.Tobin 2001. The skill and knowledge of Maya writing persisted among segments of the population right up to the Spanish conquest. The knowledge was subsequently lost, as a result of the impact of the conquest on Maya society.
The decipherment and recovery of the knowledge of Maya writing has been a long and laborious process. Some elements were first deciphered in the late 19th and early 20th century, mostly the parts having to do with numbers, the Maya calendar, and astronomy. Major breakthroughs were made from the 1950s to 1970s, and accelerated rapidly thereafter. By the end of the 20th century, scholars were able to read the majority of Maya texts, and ongoing work continues to further illuminate the content.Kettunen & Helmke 2014, p. 9.
Logosyllabic script
The basic unit of Maya logosyllabic text is the glyph block, which transcribes a word or phrase. The block is composed of one or more individual glyphs attached to each other to form the glyph block, with individual glyph blocks generally being separated by a space. Glyph blocks are usually arranged in a grid pattern. For ease of reference, epigraphers refer to glyph blocks from left to right alphabetically, and top to bottom numerically. Thus, any glyph block in a piece of text can be identified. C4 would be third block counting from the left, and the fourth block counting downwards. If a monument or artefact has more than one inscription, column labels are not repeated, rather they continue in the alphabetic series; if there are more than 26 columns, the labelling continues as A', B', etc. Numeric row labels restart from 1 for each discrete unit of text.
Although Mayan text may be laid out in varying manners, generally it is arranged into double columns of glyph blocks. The reading order of text starts at the top left (block A1), continues to the second block in the double-column (B1), then drops down a row and starts again from the left half of the double column (A2), and thus continues in zig-zag fashion. Once the bottom is reached, the inscription continues from the top left of the next double column. Where an inscription ends in a single (unpaired) column, this final column is usually read straight downwards.
Individual glyph blocks may be composed of a number of elements. These consist of the main sign, and any affixes. Main signs represent the major element of the block, and may be a noun, verb, adverb, adjective, or phonetic sign. Some main signs are abstract, some are pictures of the object they represent, and others are "head variants", personifications of the word they represent. Affixes are smaller rectangular elements, usually attached to a main sign, although a block may be composed entirely of affixes. Affixes may represent a wide variety of speech elements, including nouns, verbs, verbal suffixes, prepositions, pronouns, and more. Small sections of a main sign could be used to represent the whole main sign, and Maya scribes were highly inventive in their usage and adaptation of glyph elements.
Writing tools
Although the archaeological record does not provide examples of brushes or pens, analysis of ink strokes on the Postclassic codices suggests that it was applied with a brush with a tip fashioned from pliable hair. A Classic period sculpture from Copán, Honduras, depicts a scribe with an inkpot fashioned from a conch shell. Excavations at Aguateca uncovered a number of scribal artefacts from the residences of elite status scribes, including palettes and mortars and pestles.
Scribes and literacy
Commoners were illiterate; scribes were drawn from the elite. It is not known if all members of the aristocracy could read and write, although at least some women could, since there are representations of female scribes in Maya art. Maya scribes were called aj tzʼib, meaning "one who writes or paints". There were probably scribal schools where members of the aristocracy were taught to write. Scribal activity is identifiable in the archaeological record; Jasaw Chan Kʼawiil I, king of Tikal, was interred with his paint pot. Some junior members of the Copán royal dynasty have also been found buried with their writing implements. A palace at Copán has been identified as that of a noble lineage of scribes; it is decorated with sculpture that includes figures holding ink pots.
Although not much is known about Maya scribes, some did sign their work, both on ceramics and on stone sculpture. Usually, only a single scribe signed a ceramic vessel, but multiple sculptors are known to have recorded their names on stone sculpture; eight sculptors signed one stela at Piedras Negras. However, most works remained unsigned by their artists.
Mathematics
In common with the other Mesoamerican civilizations, the Maya used a base 20 (vigesimal) system. The bar-and-dot counting system that is the base of Maya numerals was in use in Mesoamerica by 1000 BC; the Maya adopted it by the Late Preclassic, and added the symbol for zero. This may have been the earliest known occurrence of the idea of an explicit zero worldwide, although it may have been predated by the Babylonian system. The earliest explicit use of zero occurred on monuments dated to 357 AD. In its earliest uses, the zero served as a place holder, indicating an absence of a particular calendrical count. This later developed into a numeral that was used to perform calculation, and was used in hieroglyphic texts for more than a thousand years, until the writing system was extinguished by the Spanish.
The basic number system consists of a dot to represent one, and a bar to represent five. By the Postclassic period a shell symbol represented zero; during the Classic period other glyphs were used. The Maya numerals from 0 to 19 used repetitions of these symbols. The value of a numeral was determined by its position; as a numeral shifted upwards, its basic value multiplied by twenty. In this way, the lowest symbol would represent units, the next symbol up would represent multiples of twenty, and the symbol above that would represent multiples of 400, and so on. For example, the number 884 would be written with four dots on the lowest level, four dots on the next level up, and two dots on the next level after that, to give 4×1 + 4×20 + 2×400 = 884. Using this system, the Maya were able to record huge numbers. Simple addition could be performed by summing the dots and bars in two columns to give the result in a third column.
Calendar
The Maya calendrical system, in common with other Mesoamerican calendars, had its origins in the Preclassic period. However, it was the Maya that developed the calendar to its maximum sophistication, recording lunar and solar cycles, eclipses and movements of planets with great accuracy. In some cases, the Maya calculations were more accurate than equivalent calculations in the Old World; for example, the Maya solar year was calculated to greater accuracy than the Julian year. The Maya calendar was intrinsically tied to Maya ritual, and it was central to Maya religious practices. The calendar combined a non-repeating Long Count with three interlocking cycles, each measuring a progressively larger period. These were the 260-day tzolkʼin, the 365-day haabʼ, and the 52-year Calendar Round, resulting from the combination of the tzolkʼin with the haab'. There were also additional calendric cycles, such as an 819-day cycle associated with the four quadrants of Maya cosmology, governed by four different aspects of the god Kʼawiil.
The basic unit in the Maya calendar was one day, or kʼin, and 20 kʼin grouped to form a winal. The next unit, instead of being multiplied by 20, as called for by the vigesimal system, was multiplied by 18 in order to provide a rough approximation of the solar year (hence producing 360 days). This 360-day year was called a tun. Each succeeding level of multiplication followed the vigesimal system.
The 260-day tzolkʼin provided the basic cycle of Maya ceremony, and the foundations of Maya prophecy. No astronomical basis for this count has been proved, and it may be that the 260-day count is based on the human gestation period. This is reinforced by the use of the tzolkʼin to record dates of birth, and provide corresponding prophecy. The 260-day cycle repeated a series of 20-day-names, with a number from 1 to 13 prefixed to indicated where in the cycle a particular day occurred.
The 365-day haab was produced by a cycle of eighteen named 20-day winals, completed by the addition of a 5-day period called the wayeb. The wayeb was considered to be a dangerous time, when the barriers between the mortal and supernatural realms were broken, allowing malignant deities to cross over and interfere in human concerns. In a similar way to the tzʼolkin, the named winal would be prefixed by a number (from 0 to 19), in the case of the shorter wayeb period, the prefix numbers ran 0 to 4. Since each day in the tzʼolkin had a name and number (e.g. 8 Ajaw), this would interlock with the haab, producing an additional number and name, to give any day a more complete designation, for example 8 Ajaw 13 Keh. Such a day name could only recur once every 52 years, and this period is referred to by Mayanists as the Calendar Round. In most Mesoamerican cultures, the Calendar Round was the largest unit for measuring time.
As with any non-repeating calendar, the Maya measured time from a fixed start point. The Maya set the beginning of their calendar as the end of a previous cycle of bakʼtuns, equivalent to a day in 3114 BC. This was believed by the Maya to be the day of the creation of the world in its current form. The Maya used the Long Count Calendar to fix any given day of the Calendar Round within their current great Piktun cycle consisting of either 20 bakʼtuns. There was some variation in the calendar, specifically texts in Palenque demonstrate that the piktun cycle that ended in 3114 BC had only 13 bakʼtuns, but others used a cycle of 13 + 20 bakʼtun in the current piktun. Additionally, there may have been some regional variation in how these exceptional cycles were managed.
A full long count date consisted of an introductory glyph followed by five glyphs counting off the number of bakʼtuns, katʼuns, tuns, winals, and kʼins since the start of the current creation. This would be followed by the tzʼolkin portion of the Calendar Round date, and after a number of intervening glyphs, the Long Count date would end with the Haab portion of the Calendar Round date.
Correlation of the Long Count calendar
Although the Calendar Round is still in use today, the Maya started using an abbreviated Short Count during the Late Classic period. The Short Count is a count of 13 kʼatuns. The Book of Chilam Balam of Chumayel contains the only colonial reference to classic long-count dates. The most generally accepted correlation is the Goodman-Martínez-Thompson, or GMT, correlation. This equates the Long Count date 11.16.0.0.0 13 Ajaw 8 Xul with the Gregorian date of 12 November 1539. Epigraphers Simon Martin and Nikolai Grube argue for a two-day shift from the standard GMT correlation. The Spinden Correlation would shift the Long Count dates back by 260 years; it also accords with the documentary evidence, and is better suited to the archaeology of the Yucatán Peninsula, but presents problems with the rest of the Maya region. The George Vaillant Correlation would shift all Maya dates 260 years later, and would greatly shorten the Postclassic period. Radiocarbon dating of dated wooden lintels at Tikal supports the GMT correlation.
Astronomy
The Maya made meticulous observations of celestial bodies, patiently recording astronomical data on the movements of the sun, moon, Venus, and the stars. This information was used for divination, so Maya astronomy was essentially for astrological purposes. Although Maya astronomy was mainly used by the priesthood to comprehend past cycles of time, and project them into the future to produce prophecy, it also had some practical applications, such as providing aid in crop planting and harvesting. The priesthood refined observations and recorded eclipses of the sun and moon, and movements of Venus and the stars; these were measured against dated events in the past, on the assumption that similar events would occur in the future when the same astronomical conditions prevailed. Illustrations in the codices show that priests made astronomical observations using the naked eye, assisted by crossed sticks as a sighting device. Analysis of the few remaining Postclassic codices has revealed that, at the time of European contact, the Maya had recorded eclipse tables, calendars, and astronomical knowledge that was more accurate at that time than comparable knowledge in Europe.
The Maya measured the 584-day Venus cycle with an error of just two hours. Five cycles of Venus equated to eight 365-day haab calendrical cycles, and this period was recorded in the codices. The Maya also followed the movements of Jupiter, Mars and Mercury. When Venus rose as the Morning Star, this was associated with the rebirth of the Maya Hero Twins. For the Maya, the heliacal rising of Venus was associated with destruction and upheaval. Venus was closely associated with warfare, and the hieroglyph meaning "war" incorporated the glyph-element symbolizing the planet. Sight-lines through the windows of the Caracol building at Chichen Itza align with the northernmost and southernmost extremes of Venus' path. Maya rulers launched military campaigns to coincide with the heliacal or cosmical rising of Venus, and would also sacrifice important captives to coincide with such conjunctions.
Solar and lunar eclipses were considered to be especially dangerous events that could bring catastrophe upon the world. In the Dresden Codex, a solar eclipse is represented by a serpent devouring the kʼin ("day") hieroglyph. Eclipses were interpreted as the sun or moon being bitten, and lunar tables were recorded in order that the Maya might be able to predict them, and perform the appropriate ceremonies to ward off disaster.
Religion and mythology
In common with the rest of Mesoamerica, the Maya believed in a supernatural realm inhabited by an array of powerful deities who needed to be placated with ceremonial offerings and ritual practices. At the core of Maya religious practice was the worship of deceased ancestors, who would intercede for their living descendants in dealings with the supernatural realm. The earliest intermediaries between humans and the supernatural were shamans. Maya ritual included the use of hallucinogens for chilan, oracular priests. Visions for the chilan were likely facilitated by consumption of water lilies, which are hallucinogenic in high doses. As the Maya civilization developed, the ruling elite codified the Maya world view into religious cults that justified their right to rule. In the Late Preclassic, this process culminated in the institution of the divine king, the kʼuhul ajaw, endowed with ultimate political and religious power.
The Maya viewed the cosmos as highly structured. There were thirteen levels in the heavens and nine in the underworld, with the mortal world in between. Each level had four cardinal directions associated with a different colour; north was white, east was red, south was yellow, and west was black. Major deities had aspects associated with these directions and colours.
Maya households interred their dead underneath the floors, with offerings appropriate to the social status of the family. There the dead could act as protective ancestors. Maya lineages were patrilineal, so the worship of a prominent male ancestor would be emphasised, often with a household shrine. As Maya society developed, and the elite became more powerful, Maya royalty developed their household shrines into the great pyramids that held the tombs of their ancestors.
Belief in supernatural forces pervaded Maya life and influenced every aspect of it, from the simplest day-to-day activities such as food preparation, to trade, politics, and elite activities. Maya deities governed all aspects of the world, both visible and invisible. The Maya priesthood was a closed group, drawing its members from the established elite; by the Early Classic they were recording increasingly complex ritual information in their hieroglyphic books, including astronomical observations, calendrical cycles, history and mythology. The priests performed public ceremonies that incorporated feasting, bloodletting, incense burning, music, ritual dance, and, on certain occasions, human sacrifice. During the Classic period, the Maya ruler was the high priest, and the direct conduit between mortals and the gods. It is highly likely that, among commoners, shamanism continued in parallel to state religion. By the Postclassic, religious emphasis had changed; there was an increase in worship of the images of deities, and more frequent recourse to human sacrifice.
Archaeologists painstakingly reconstruct these ritual practices and beliefs using several techniques. One important, though incomplete, resource is physical evidence, such as dedicatory caches and other ritual deposits, shrines, and burials with their associated funerary offerings. Maya art, architecture, and writing are another resource, and these can be combined with ethnographic sources, including records of Maya religious practices made by the Spanish during the conquest.
Human sacrifice
Blood was viewed as a potent source of nourishment for the Maya deities, and the sacrifice of a living creature was a powerful blood offering. By extension, the sacrifice of a human life was the ultimate offering of blood to the gods, and the most important Maya rituals culminated in human sacrifice. Generally only high status prisoners of war were sacrificed, with lower status captives being used for labour.
Important rituals such as the dedication of major building projects or the enthronement of a new ruler required a human offering. The sacrifice of an enemy king was the most prized, and such a sacrifice involved decapitation of the captive ruler, perhaps in a ritual reenactment of the decapitation of the Maya maize god by the death gods. In AD 738, the vassal king Kʼakʼ Tiliw Chan Yopaat of Quiriguá captured his overlord, Uaxaclajuun Ubʼaah Kʼawiil of Copán and a few days later ritually decapitated him. Sacrifice by decapitation is depicted in Classic period Maya art, and sometimes took place after the victim was tortured, being variously beaten, scalped, burnt or disembowelled. Another myth associated with decapitation was that of the Hero Twins recounted in the Popol Vuh: playing a ballgame against the gods of the underworld, the heroes achieved victory, but one of each pair of twins was decapitated by their opponents.
During the Postclassic period, the most common form of human sacrifice was heart extraction, influenced by the rites of the Aztecs in the Valley of Mexico; this usually took place in the courtyard of a temple, or upon the summit of the pyramid. In one ritual, the corpse would be skinned by assistant priests, except for the hands and feet, and the officiating priest would then dress himself in the skin of the sacrificial victim and perform a ritual dance symbolizing the rebirth of life. Archaeological investigations indicate that heart sacrifice was practised as early as the Classic period.
Deities
The Maya world was populated by a great variety of deities, supernatural entities and sacred forces. The Maya had such a broad interpretation of the sacred that identifying distinct deities with specific functions is inaccurate. The Maya interpretation of deities was closely tied to the calendar, astronomy, and their cosmology. The importance of a deity, its characteristics, and its associations varied according to the movement of celestial bodies. The priestly interpretation of astronomical records and books was therefore crucial, since the priest would understand which deity required ritual propitiation, when the correct ceremonies should be performed, and what would be an appropriate offering. Each deity had four manifestations, associated with the cardinal directions, each identified with a different colour. They also had a dual day-night/life-death aspect.
Itzamna was the creator god, but he also embodied the cosmos, and was simultaneously a sun god; Kʼinich Ahau, the day sun, was one of his aspects. Maya kings frequently identified themselves with Kʼinich Ahau. Itzamna also had a night sun aspect, the Night Jaguar, representing the sun in its journey through the underworld. The four Pawatuns supported the corners of the mortal realm; in the heavens, the Bacabs performed the same function. As well as their four main aspects, the Bakabs had dozens of other aspects that are not well understood. The four Chaacs were storm gods, controlling thunder, lightning, and the rains. The nine lords of the night each governed one of the underworld realms. Other important deities included the moon goddess, the maize god, and the Hero Twins.
The Popol Vuh was written in the Latin script in early colonial times, and was probably transcribed from a hieroglyphic book by an unknown Kʼicheʼ Maya nobleman. It is one of the most outstanding works of indigenous literature in the Americas. The Popul Vuh recounts the mythical creation of the world, the legend of the Hero Twins, and the history of the Postclassic Kʼicheʼ kingdom. Deities recorded in the Popul Vuh include Hun Hunahpu, believed by some to be the Kʼicheʼ maize god, and a triad of deities led by the Kʼicheʼ patron Tohil, and also including the moon goddess Awilix, and the mountain god Jacawitz.
In common with other Mesoamerican cultures, the Maya worshipped feathered serpent deities. Such worship was rare during the Classic period, but by the Postclassic the feathered serpent had spread to both the Yucatán Peninsula and the Guatemalan Highlands. In Yucatán, the feathered serpent deity was Kukulkan, among the Kʼicheʼ it was Qʼuqʼumatz. Kukulkan had his origins in the Classic period War Serpent, Waxaklahun Ubah Kan'', and has also been identified as the Postclassic version of the Vision Serpent of Classic Maya art. Although the cult of Kukulkan had its origins in these earlier Maya traditions, the worship of Kukulkan was heavily influenced by the Quetzalcoatl cult of central Mexico. Likewise, Qʼuqʼumatz had a composite origin, combining the attributes of Mexican Quetzalcoatl with aspects of the Classic period Itzamna.
Agriculture
The ancient Maya had diverse and sophisticated methods of food production. It was believed that shifting cultivation (swidden) agriculture provided most of their food, but it is now thought that permanent raised fields, terracing, intensive gardening, forest gardens, and managed fallows were also crucial to supporting the large populations of the Classic period in some areas. Indeed, evidence of these different agricultural systems persist today: raised fields connected by canals can be seen on aerial photographs. Contemporary rainforest species composition has significantly higher abundance of species of economic value to ancient Maya in areas that were densely populated in pre-Columbian times, and pollen records in lake sediments suggest that maize, manioc, sunflower seeds, cotton, and other crops have been cultivated in association with deforestation in Mesoamerica since at least 2500 BC.
The basic staples of the Maya diet were maize, beans, and squashes. These were supplemented with a wide variety of other plants either cultivated in gardens or gathered in the forest. At Joya de Cerén, a volcanic eruption preserved a record of foodstuffs stored in Maya homes, among them were chilies and tomatoes. Cotton seeds were in the process of being ground, perhaps to produce cooking oil. In addition to basic foodstuffs, the Maya also cultivated prestige crops such as cotton, cacao and vanilla. Cacao was especially prized by the elite, who consumed chocolate beverages. Cotton was spun, dyed, and woven into valuable textiles in order to be traded.
The Maya had few domestic animals; dogs were domesticated by 3000 BC, and the Muscovy duck by the Late Postclassic. Ocellated turkeys were unsuitable for domestication, but were rounded up in the wild and penned for fattening. All of these were used as food animals; dogs were additionally used for hunting. It is possible that deer were also penned and fattened.
Maya sites
There are hundreds of Maya sites spread across five countries: Belize, El Salvador, Guatemala, Honduras and Mexico.
The six sites with particularly outstanding architecture or sculpture are Chichen Itza, Palenque, Uxmal, and Yaxchilan in Mexico, Tikal in Guatemala and Copán in Honduras. Other important, but difficult to reach, sites include Calakmul and El Mirador. The principal sites in the Puuc region, after Uxmal, are Kabah, Labna, and Sayil. In the east of the Yucatán Peninsula are Coba and the small site of Tulum. The Río Bec sites of the base of the peninsula include Becan, Chicanná, Kohunlich, and Xpuhil. The most noteworthy sites in Chiapas, other than Palenque and Yaxchilan, are Bonampak and Toniná. In the Guatemalan Highlands are Iximche, Kaminaljuyu, Mixco Viejo, and Qʼumarkaj (also known as Utatlán). In the northern Petén lowlands of Guatemala there are many sites, though apart from Tikal access is generally difficult. Some of the Petén sites are Dos Pilas, Seibal, and Uaxactún. Important sites in Belize include Altun Ha, Caracol, and Xunantunich.
Museum collections
There are many museums across the world with Maya artefacts in their collections. The Foundation for the Advancement of Mesoamerican Studies lists over 250 museums in its Maya Museum database, and the European Association of Mayanists lists just under 50 museums in Europe alone.
See also
Entheogenics and the Maya
Huastec civilization
Index of Mexico-related articles
Songs of Dzitbalche
References
Bibliography
Alt URL
Full list from FAMSI archived from the original on 2015-06-08.
Further reading
External links
Foundation for the Advancement of Mesoamerican Studies, Inc. (FAMSI)
Primary sources of Maya history – part one by Ronald A. Barnett
Mesoweb by Joel Skidmore.
Maya Map – A map of the Maya civilization.
Former monarchies of North America
History of Guatemala
History of Belize
History of Chiapas
History of El Salvador
History of Honduras
2nd-millennium BC establishments
1697 disestablishments in North America
Former countries in North America
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"The Callboard Network was an electronic communication network operated by the University of Alberta for USITT in the late 1980s and early 1990s. Its purpose was to provide a means by which USITT members around the world, but primarily in the US and Canada, could easily communicate amongst each other. As the internet expanded rapidly during this period, it rapidly became obsolete but was an invaluable early resource for the members of the organization.\n\nOne notable event which occurred on this network was the creation of the MIDI Show Control standard between January and August 1990. This was done using the 'MIDI Forum' which was set up by Charlie Richmond. Several dozen participants from around the world logged in using a variety of means, including dialing long distance. The unique feature of this group of developers was that they never once met to discuss the evolving standard in person. It has been suggested that this was the first international standard that was created 100% virtually and is notable for that reason.\n\nTelecommunications infrastructure",
"The 2003 World Series of Poker (WSOP) was held at Binion's Horseshoe.\n\nPreliminary events\n\nMain Event\nThere were 839 entrants to the main event. Each paid $10,000 to enter what was the largest poker tournament ever played in a brick and mortar casino at the time. Many entrants, including the overall winner Chris Moneymaker, won their seat in online poker tournaments. The 2003 Main Event was the first tournament to pay out at least $2,500,000 to the winner. Dan Harrington made the final table and looked to win his second Main Event championship, but fell short in third place.\n\nFinal table\n\n*Career statistics prior to the beginning of the 2003 Main Event.\n\nFinal table results\n\nOther Notable Finishes\n\nWorld Series of Poker\nWorld Series of Poker"
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[
"Maya civilization",
"Postclassic period (c. 950-1539 AD)",
"Were there any explorers in the Mayan region during this time?",
"I don't know.",
"What was a notable event during this time period?",
"The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America."
] |
C_f3af675fc9294dec9e5f837a1620ba95_1
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What were the origins of the Mayan culture?
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What were the origins of the Mayan culture?
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Maya civilization
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The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America. Mesoamerica was one of six cradles of civilization worldwide. The Mesoamerican area gave rise to a series of cultural developments that included complex societies, agriculture, cities, monumental architecture, writing, and calendrical systems. The set of traits shared by Mesoamerican cultures also included astronomical knowledge, blood and human sacrifice, and a cosmovision that viewed the world as divided into four divisions aligned with the cardinal directions, each with different attributes, and a three-way division of the world into the celestial realm, the earth, and the underworld. By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies. The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes. All Mesoamerican cultures used Stone Age technology; after c. 1000 AD copper, silver and gold were worked. Mesoamerica lacked draft animals, did not use the wheel, and possessed few domesticated animals; the principal means of transport was on foot or by canoe. Mesoamericans viewed the world as hostile and governed by unpredictable deities. The ritual Mesoamerican ballgame was widely played. Mesoamerica is linguistically diverse, with most languages falling within a small number of language families - the major families are Mayan, Mixe-Zoquean, Otomanguean, and Uto-Aztecan; there are also a number of smaller families and isolates. The Mesoamerican language area shares a number of important features, including widespread loanwords, and use of a vigesimal number system. The territory of the Maya covered a third of Mesoamerica, and the Maya were engaged in a dynamic relationship with neighbouring cultures that included the Olmecs, Mixtecs, Teotihuacan, the Aztecs, and others. During the Early Classic period, the Maya cities of Tikal and Kaminaljuyu were key Maya foci in a network that extended beyond the Maya area into the highlands of central Mexico. At around the same time, there was a strong Maya presence at the Tetitla compound of Teotihuacan. Centuries later, during the 9th century AD, murals at Cacaxtla, another site in the central Mexican highlands, were painted in a Maya style. This may have been either an effort to align itself with the still-powerful Maya area after the collapse of Teotihuacan and ensuing political fragmentation in the Mexican Highlands, or an attempt to express a distant Maya origin of the inhabitants. The Maya city of Chichen Itza and the distant Toltec capital of Tula had an especially close relationship. The Maya developed their first civilization in the Preclassic period. Scholars continue to discuss when this era of Maya civilization began. Maya occupation at Cuello (modern-day Belize) has been carbon dated to around 2600 BC. Settlements were established around 1800 BC in the Soconusco region of the Pacific coast, and the Maya were already cultivating the staple crops of maize, beans, squash, and chili pepper. This period was characterized by sedentary communities and the introduction of pottery and fired clay figurines. During the Middle Preclassic Period, small villages began to grow to form cities. Nakbe in the Peten department of Guatemala is the earliest well-documented city in the Maya lowlands, where large structures have been dated to around 750 BC. The northern lowlands of Yucatan were widely settled by the Middle Preclassic. By approximately 400 BC, early Maya rulers were raising stelae. A developed script was already being used in Peten by the 3rd century BC. In the Late Preclassic Period, the enormous city of El Mirador grew to cover approximately 16 square kilometres (6.2 sq mi). Although not as large, Tikal was already a significant city by around 350 BC. In the highlands, Kaminaljuyu emerged as a principal centre in the Late Preclassic. Takalik Abaj and Chocola were two of the most important cities on the Pacific coastal plain, and Komchen grew to become an important site in northern Yucatan. The Late Preclassic cultural florescence collapsed in the 1st century AD and many of the great Maya cities of the epoch were abandoned; the cause of this collapse is unknown. Although much reduced, a significant Maya presence remained into the Postclassic period after the abandonment of the major Classic period cities; the population was particularly concentrated near permanent water sources. Unlike during previous cycles of contraction in the Maya region, abandoned lands were not quickly resettled in the Postclassic. Activity shifted to the northern lowlands and the Maya Highlands; this may have involved migration from the southern lowlands, because many Postclassic Maya groups had migration myths. Chichen Itza and its Puuc neighbours declined dramatically in the 11th century, and this may represent the final episode of Classic Period collapse. After the decline of Chichen Itza, the Maya region lacked a dominant power until the rise of the city of Mayapan in the 12th century. New cities arose near the Caribbean and Gulf coasts, and new trade networks were formed. The Postclassic Period was marked by changes from the preceding Classic Period. The once-great city of Kaminaljuyu in the Valley of Guatemala was abandoned after continuous occupation of almost 2,000 years. Across the highlands and neighbouring Pacific coast, long-occupied cities in exposed locations were relocated, apparently due to a proliferation of warfare. Cities came to occupy more-easily defended hilltop locations surrounded by deep ravines, with ditch-and-wall defences sometimes supplementing the protection provided by the natural terrain. One of the most important cities in the Guatemalan Highlands at this time was Q'umarkaj, the capital of the aggressive K'iche' kingdom. The government of Maya states, from the Yucatan to the Guatemalan highlands, was often organized as joint rule by a council. However, in practice one member of the council could act as a supreme ruler, while the other members served him as advisors. Mayapan was abandoned around 1448, after a period of political, social and environmental turbulence that in many ways echoed the Classic period collapse in the southern Maya region. The abandonment of the city was followed by a period of prolonged warfare, disease and natural disasters in the Yucatan Peninsula, which ended only shortly before Spanish contact in 1511. Even without a dominant regional capital, the early Spanish explorers reported wealthy coastal cities and thriving marketplaces. During the Late Postclassic, the Yucatan Peninsula was divided into a number of independent provinces that shared a common culture but varied in internal sociopolitical organization. On the eve of the Spanish conquest, the highlands of Guatemala were dominated by several powerful Maya states. The K'iche' had carved out a small empire covering a large part of the western Guatemalan Highlands and the neighbouring Pacific coastal plain. However, in the decades before the Spanish invasion the Kaqchikel kingdom had been steadily eroding the kingdom of the K'iche'. CANNOTANSWER
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By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies.
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The Maya civilization () was a Mesoamerican civilization developed by the Maya peoples, and noted for its logosyllabic script—the most sophisticated and highly developed writing system in pre-Columbian Americas—as well as for its art, architecture, mathematics, calendar, and astronomical system. The Maya civilization developed in the area that today comprises southeastern Mexico, all of Guatemala and Belize, and the western portions of Honduras and El Salvador. It includes the northern lowlands of the Yucatán Peninsula and the highlands of the Sierra Madre, the Mexican state of Chiapas, southern Guatemala, El Salvador, and the southern lowlands of the Pacific littoral plain. "Maya" is a modern term used to refer collectively to the various peoples that inhabited this area. They did not call themselves "Maya" and did not have a sense of common identity or political unity. Today, their descendants, known collectively as the Maya, number well over 6 million individuals, speak more than twenty-eight surviving Mayan languages, and reside in nearly the same area as their ancestors.
The Archaic period, before 2000 BC, saw the first developments in agriculture and the earliest villages. The Preclassic period () saw the establishment of the first complex societies in the Maya region, and the cultivation of the staple crops of the Maya diet, including maize, beans, squashes, and chili peppers. The first Maya cities developed around 750 BC, and by 500 BC these cities possessed monumental architecture, including large temples with elaborate stucco façades. Hieroglyphic writing was being used in the Maya region by the 3rd century BC. In the Late Preclassic a number of large cities developed in the Petén Basin, and the city of Kaminaljuyu rose to prominence in the Guatemalan Highlands. Beginning around 250 AD, the Classic period is largely defined as when the Maya were raising sculpted monuments with Long Count dates. This period saw the Maya civilization develop many city-states linked by a complex trade network. In the Maya Lowlands two great rivals, the cities of Tikal and Calakmul, became powerful. The Classic period also saw the intrusive intervention of the central Mexican city of Teotihuacan in Maya dynastic politics. In the 9th century, there was a widespread political collapse in the central Maya region, resulting in internecine warfare, the abandonment of cities, and a northward shift of population. The Postclassic period saw the rise of Chichen Itza in the north, and the expansion of the aggressive Kʼicheʼ kingdom in the Guatemalan Highlands. In the 16th century, the Spanish Empire colonised the Mesoamerican region, and a lengthy series of campaigns saw the fall of Nojpetén, the last Maya city, in 1697.
Rule during the Classic period centred on the concept of the "divine king", who was thought to act as a mediator between mortals and the supernatural realm. Kingship was patrilineal, and power normally passed to the eldest son. A prospective king was expected to be a successful war leader as well as a ruler. Closed patronage systems were the dominant force in Maya politics, although how patronage affected the political makeup of a kingdom varied from city-state to city-state. By the Late Classic period, the aristocracy had grown in size, reducing the previously exclusive power of the king. The Maya developed sophisticated art forms using both perishable and non-perishable materials, including wood, jade, obsidian, ceramics, sculpted stone monuments, stucco, and finely painted murals.
Maya cities tended to expand organically. The city centers comprised ceremonial and administrative complexes, surrounded by an irregularly shaped sprawl of residential districts. Different parts of a city were often linked by causeways. Architecturally, city buildings included palaces, pyramid-temples, ceremonial ballcourts, and structures specially aligned for astronomical observation. The Maya elite were literate, and developed a complex system of hieroglyphic writing. Theirs was the most advanced writing system in the pre-Columbian Americas. The Maya recorded their history and ritual knowledge in screenfold books, of which only three uncontested examples remain, the rest having been destroyed by the Spanish. In addition, a great many examples of Maya texts can be found on stelae and ceramics. The Maya developed a highly complex series of interlocking ritual calendars, and employed mathematics that included one of the earliest known instances of the explicit zero in human history. As a part of their religion, the Maya practised human sacrifice.
Mesoamerica
The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America. Mesoamerica was one of six cradles of civilization worldwide. The Mesoamerican area gave rise to a series of cultural developments that included complex societies, agriculture, cities, monumental architecture, writing, and calendrical systems. The set of traits shared by Mesoamerican cultures also included astronomical knowledge, blood and human sacrifice, and a cosmovision that viewed the world as divided into four divisions aligned with the cardinal directions, each with different attributes, and a three-way division of the world into the celestial realm, the earth, and the underworld.
By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies. The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes. All Mesoamerican cultures used Stone Age technology; after c. 1000 AD copper, silver and gold were worked. Mesoamerica lacked draft animals, did not use the wheel, and possessed few domesticated animals; the principal means of transport was on foot or by canoe. Mesoamericans viewed the world as hostile and governed by unpredictable deities. The ritual Mesoamerican ballgame was widely played. Mesoamerica is linguistically diverse, with most languages falling within a small number of language families—the major families are Mayan, Mixe–Zoquean, Otomanguean, and Uto-Aztecan; there are also a number of smaller families and isolates. The Mesoamerican language area shares a number of important features, including widespread loanwords, and use of a vigesimal number system.
The territory of the Maya covered a third of Mesoamerica, and the Maya were engaged in a dynamic relationship with neighbouring cultures that included the Olmecs, Mixtecs, Teotihuacan, the Aztecs, and others. During the Early Classic period, the Maya cities of Tikal and Kaminaljuyu were key Maya foci in a network that extended beyond the Maya area into the highlands of central Mexico. At around the same time, there was a strong Maya presence at the Tetitla compound of Teotihuacan. Centuries later, during the 9th century AD, murals at Cacaxtla, another site in the central Mexican highlands, were painted in a Maya style. This may have been either an effort to align itself with the still-powerful Maya area after the collapse of Teotihuacan and ensuing political fragmentation in the Mexican Highlands, or an attempt to express a distant Maya origin of the inhabitants. The Maya city of Chichen Itza and the distant Toltec capital of Tula had an especially close relationship.
Geography
The Maya civilization occupied a wide territory that included southeastern Mexico and northern Central America. This area included the entire Yucatán Peninsula and all of the territory now incorporated into the modern countries of Guatemala and Belize, as well as the western portions of Honduras and El Salvador. Most of the peninsula is formed by a vast plain with few hills or mountains and a generally low coastline.
The Petén region consists of densely forested low-lying limestone plain; a chain of fourteen lakes runs across the central drainage basin of Petén. To the south the plain gradually rises towards the Guatemalan Highlands. Dense forest covers northern Petén and Belize, most of Quintana Roo, southern Campeche, and a portion of the south of Yucatán state. Farther north, the vegetation turns to lower forest consisting of dense scrub.
The littoral zone of Soconusco lies to the south of the Sierra Madre de Chiapas, and consists of a narrow coastal plain and the foothills of the Sierra Madre. The Maya highlands extend eastwards from Chiapas into Guatemala, reaching their highest in the Sierra de los Cuchumatanes. The major pre-Columbian population centres of the highlands were located in the largest highland valleys, such as the Valley of Guatemala and the Quetzaltenango Valley. In the southern highlands, a belt of volcanic cones runs parallel to the Pacific coast. The highlands extend northwards into Verapaz, and gradually descend to the east.
History
The history of Maya civilization is divided into three principal periods: the Preclassic, Classic, and Postclassic periods. These were preceded by the Archaic Period, during which the first settled villages and early developments in agriculture emerged. Modern scholars regard these periods as arbitrary divisions of Maya chronology, rather than indicative of cultural evolution or decline. Definitions of the start and end dates of period spans can vary by as much as a century, depending on the author.
Preclassic period (c. 2000 BC – 250 AD)
The Maya developed their first civilization in the Preclassic period. Scholars continue to discuss when this era of Maya civilization began. Maya occupation at Cuello (modern-day Belize) has been carbon dated to around 2600 BC. Settlements were established around 1800 BC in the Soconusco region of the Pacific coast, and the Maya were already cultivating the staple crops of maize, beans, squash, and chili pepper. This period was characterised by sedentary communities and the introduction of pottery and fired clay figurines.
During the Middle Preclassic Period, small villages began to grow to form cities. Nakbe in the Petén department of Guatemala is the earliest well-documented city in the Maya lowlands, where large structures have been dated to around 750 BC. The northern lowlands of Yucatán were widely settled by the Middle Preclassic. By approximately 400 BC, early Maya rulers were raising stelae. A developed script was already being used in Petén by the 3rd century BC. In the Late Preclassic Period, the enormous city of El Mirador grew to cover approximately . Although not as large, Tikal was already a significant city by around 350 BC.
In the highlands, Kaminaljuyu emerged as a principal centre in the Late Preclassic. Takalik Abaj and Chocolá were two of the most important cities on the Pacific coastal plain, and Komchen grew to become an important site in northern Yucatán. The Late Preclassic cultural florescence collapsed in the 1st century AD and many of the great Maya cities of the epoch were abandoned; the cause of this collapse is unknown.
Classic period (c. 250–900 AD)
The Classic period is largely defined as the period during which the lowland Maya raised dated monuments using the Long Count calendar. This period marked the peak of large-scale construction and urbanism, the recording of monumental inscriptions, and demonstrated significant intellectual and artistic development, particularly in the southern lowland regions. The Classic period Maya political landscape has been likened to that of Renaissance Italy or Classical Greece, with multiple city-states engaged in a complex network of alliances and enmities. The largest cities had populations numbering 50,000 to 120,000 and were linked to networks of subsidiary sites.
During the Early Classic, cities throughout the Maya region were influenced by the great metropolis of Teotihuacan in the distant Valley of Mexico. In AD 378, Teotihuacan decisively intervened at Tikal and other nearby cities, deposed their rulers, and installed a new Teotihuacan-backed dynasty. This intervention was led by Siyaj Kʼakʼ ("Born of Fire"), who arrived at Tikal in early 378. The king of Tikal, Chak Tok Ichʼaak I, died on the same day, suggesting a violent takeover. A year later, Siyaj Kʼakʼ oversaw the installation of a new king, Yax Nuun Ahiin I. The installation of the new dynasty led to a period of political dominance when Tikal became the most powerful city in the central lowlands.
Tikal's great rival was Calakmul, another powerful city in the Petén Basin. Tikal and Calakmul both developed extensive systems of allies and vassals; lesser cities that entered one of these networks gained prestige from their association with the top-tier city, and maintained peaceful relations with other members of the same network. Tikal and Calakmul engaged in the manoeuvering of their alliance networks against each other. At various points during the Classic period, one or other of these powers would gain a strategic victory over its great rival, resulting in respective periods of florescence and decline.
In 629, Bʼalaj Chan Kʼawiil, a son of the Tikal king Kʼinich Muwaan Jol II, was sent to found a new city at Dos Pilas, in the Petexbatún region, apparently as an outpost to extend Tikal's power beyond the reach of Calakmul. For the next two decades he fought loyally for his brother and overlord at Tikal. In 648, king Yuknoom Chʼeen II of Calakmul captured Balaj Chan Kʼawiil. Yuknoom Chʼeen II then reinstated Balaj Chan Kʼawiil upon the throne of Dos Pilas as his vassal. He thereafter served as a loyal ally of Calakmul.
In the southeast, Copán was the most important city. Its Classic-period dynasty was founded in 426 by Kʼinich Yax Kʼukʼ Moʼ. The new king had strong ties with central Petén and Teotihuacan. Copán reached the height of its cultural and artistic development during the rule of Uaxaclajuun Ubʼaah Kʼawiil, who ruled from 695 to 738. His reign ended catastrophically when he was captured by his vassal, king Kʼakʼ Tiliw Chan Yopaat of Quiriguá. The captured lord of Copán was taken back to Quiriguá and was decapitated in a public ritual. It is likely that this coup was backed by Calakmul, in order to weaken a powerful ally of Tikal. Palenque and Yaxchilan were the most powerful cities in the Usumacinta region. In the highlands, Kaminaljuyu in the Valley of Guatemala was already a sprawling city by 300. In the north of the Maya area, Coba was the most important capital.
Classic Maya collapse
During the 9th century AD, the central Maya region suffered major political collapse, marked by the abandonment of cities, the ending of dynasties, and a northward shift in activity. No universally accepted theory explains this collapse, but it likely had a combination of causes, including endemic internecine warfare, overpopulation resulting in severe environmental degradation, and drought. During this period, known as the Terminal Classic, the northern cities of Chichen Itza and Uxmal showed increased activity. Major cities in the northern Yucatán Peninsula continued to be inhabited long after the cities of the southern lowlands ceased to raise monuments.
Classic Maya social organization was based on the ritual authority of the ruler, rather than central control of trade and food distribution. This model of rulership was poorly structured to respond to changes, because the ruler's actions were limited by tradition to such activities as construction, ritual, and warfare. This only served to exacerbate systemic problems. By the 9th and 10th centuries, this resulted in collapse of this system of rulership. In the northern Yucatán, individual rule was replaced by a ruling council formed from elite lineages. In the southern Yucatán and central Petén, kingdoms declined; in western Petén and some other areas, the changes were catastrophic and resulted in the rapid depopulation of cities. Within a couple of generations, large swathes of the central Maya area were all but abandoned. Both the capitals and their secondary centres were generally abandoned within a period of 50 to 100 years. One by one, cities stopped sculpting dated monuments; the last Long Count date was inscribed at Toniná in 909. Stelae were no longer raised, and squatters moved into abandoned royal palaces. Mesoamerican trade routes shifted and bypassed Petén.
Postclassic period (c. 950–1539 AD)
Although much reduced, a significant Maya presence remained into the Postclassic period after the abandonment of the major Classic period cities; the population was particularly concentrated near permanent water sources. Unlike during previous cycles of contraction in the Maya region, abandoned lands were not quickly resettled in the Postclassic. Activity shifted to the northern lowlands and the Maya Highlands; this may have involved migration from the southern lowlands, because many Postclassic Maya groups had migration myths. Chichen Itza and its Puuc neighbours declined dramatically in the 11th century, and this may represent the final episode of Classic Period collapse. After the decline of Chichen Itza, the Maya region lacked a dominant power until the rise of the city of Mayapan in the 12th century. New cities arose near the Caribbean and Gulf coasts, and new trade networks were formed.
The Postclassic Period was marked by changes from the preceding Classic Period. The once-great city of Kaminaljuyu in the Valley of Guatemala was abandoned after continuous occupation of almost 2,000 years. Across the highlands and neighbouring Pacific coast, long-occupied cities in exposed locations were relocated, apparently due to a proliferation of warfare. Cities came to occupy more-easily defended hilltop locations surrounded by deep ravines, with ditch-and-wall defences sometimes supplementing the protection provided by the natural terrain. One of the most important cities in the Guatemalan Highlands at this time was Qʼumarkaj, the capital of the aggressive Kʼicheʼ kingdom. The government of Maya states, from the Yucatán to the Guatemalan highlands, was often organised as joint rule by a council. However, in practice one member of the council could act as a supreme ruler, while the other members served him as advisors.
Mayapan was abandoned around 1448, after a period of political, social and environmental turbulence that in many ways echoed the Classic period collapse in the southern Maya region. The abandonment of the city was followed by a period of prolonged warfare, disease and natural disasters in the Yucatán Peninsula, which ended only shortly before Spanish contact in 1511. Even without a dominant regional capital, the early Spanish explorers reported wealthy coastal cities and thriving marketplaces. During the Late Postclassic, the Yucatán Peninsula was divided into a number of independent provinces that shared a common culture but varied in internal sociopolitical organization. On the eve of the Spanish conquest, the highlands of Guatemala were dominated by several powerful Maya states. The Kʼicheʼ had carved out a small empire covering a large part of the western Guatemalan Highlands and the neighbouring Pacific coastal plain. However, in the decades before the Spanish invasion the Kaqchikel kingdom had been steadily eroding the kingdom of the Kʼicheʼ.
Contact period and Spanish conquest (1511–1697 AD)
In 1511, a Spanish caravel was wrecked in the Caribbean, and about a dozen survivors made landfall on the coast of Yucatán. They were seized by a Maya lord, and most were sacrificed, although two managed to escape. From 1517 to 1519, three separate Spanish expeditions explored the Yucatán coast, and engaged in a number of battles with the Maya inhabitants. After the Aztec capital Tenochtitlan fell to the Spanish in 1521, Hernán Cortés despatched Pedro de Alvarado to Guatemala with 180 cavalry, 300 infantry, 4 cannons, and thousands of allied warriors from central Mexico; they arrived in Soconusco in 1523. The Kʼicheʼ capital, Qʼumarkaj, fell to Alvarado in 1524. Shortly afterwards, the Spanish were invited as allies into Iximche, the capital city of the Kaqchikel Maya. Good relations did not last, due to excessive Spanish demands for gold as tribute, and the city was abandoned a few months later. This was followed by the fall of Zaculeu, the Mam Maya capital, in 1525. Francisco de Montejo and his son, Francisco de Montejo the Younger, launched a long series of campaigns against the polities of the Yucatán Peninsula in 1527, and finally completed the conquest of the northern portion of the peninsula in 1546. This left only the Maya kingdoms of the Petén Basin independent. In 1697, Martín de Ursúa launched an assault on the Itza capital Nojpetén and the last independent Maya city fell to the Spanish.
Persistence of Maya culture
The Spanish conquest stripped away most of the defining features of Maya civilization. However, many Maya villages remained remote from Spanish colonial authority, and for the most part continued to manage their own affairs. Maya communities and the nuclear family maintained their traditional day-to-day life. The basic Mesoamerican diet of maize and beans continued, although agricultural output was improved by the introduction of steel tools. Traditional crafts such as weaving, ceramics, and basketry continued to be practised. Community markets and trade in local products continued long after the conquest. At times, the colonial administration encouraged the traditional economy in order to extract tribute in the form of ceramics or cotton textiles, although these were usually made to European specifications. Maya beliefs and language proved resistant to change, despite vigorous efforts by Catholic missionaries. The 260-day tzolkʼin ritual calendar continues in use in modern Maya communities in the highlands of Guatemala and Chiapas, and millions of Mayan-language speakers inhabit the territory in which their ancestors developed their civilization.
Investigation of Maya civilization
The agents of the Catholic Church wrote detailed accounts of the Maya, in support of their efforts at Christianization, and absorption of the Maya into the Spanish Empire. This was followed by various Spanish priests and colonial officials who left descriptions of ruins they visited in Yucatán and Central America. In 1839, American traveller and writer John Lloyd Stephens set out to visit a number of Maya sites with English architect and draftsman Frederick Catherwood. Their illustrated accounts of the ruins sparked strong popular interest, and brought the Maya to the attention of the world. The later 19th century saw the recording and recovery of ethnohistoric accounts of the Maya, and the first steps in deciphering Maya hieroglyphs.
The final two decades of the 19th century saw the birth of modern scientific archaeology in the Maya region, with the meticulous work of Alfred Maudslay and Teoberto Maler. By the early 20th century, the Peabody Museum was sponsoring excavations at Copán and in the Yucatán Peninsula. In the first two decades of the 20th century, advances were made in deciphering the Maya calendar, and identifying deities, dates, and religious concepts. Since the 1930s, archaeological exploration increased dramatically, with large-scale excavations across the Maya region.
In the 1960s, the distinguished Mayanist J. Eric S. Thompson promoted the ideas that Maya cities were essentially vacant ceremonial centres serving a dispersed population in the forest, and that the Maya civilization was governed by peaceful astronomer-priests. These ideas began to collapse with major advances in the decipherment of the script in the late 20th century, pioneered by Heinrich Berlin, Tatiana Proskouriakoff, and Yuri Knorozov. With breakthroughs in understanding of Maya script since the 1950s, the texts revealed the warlike activities of the Classic Maya kings, and the view of the Maya as peaceful could no longer be supported.
Politics
Unlike the Aztecs and the Inca, the Maya political system never integrated the entire Maya cultural area into a single state or empire. Rather, throughout its history, the Maya area contained a varying mix of political complexity that included both states and chiefdoms. These polities fluctuated greatly in their relationships with each other and were engaged in a complex web of rivalries, periods of dominance or submission, vassalage, and alliances. At times, different polities achieved regional dominance, such as Calakmul, Caracol, Mayapan, and Tikal. The first reliably evidenced polities formed in the Maya lowlands in the 9th century BC.
During the Late Preclassic, the Maya political system coalesced into a theopolitical form, where elite ideology justified the ruler's authority, and was reinforced by public display, ritual, and religion. The divine king was the centre of political power, exercising ultimate control over the administrative, economic, judicial, and military functions of the polity. The divine authority invested within the ruler was such that the king was able to mobilize both the aristocracy and commoners in executing huge infrastructure projects, apparently with no police force or standing army. Some polities engaged in a strategy of increasing administration, and filling administrative posts with loyal supporters rather than blood relatives. Within a polity, mid-ranking population centres would have played a key role in managing resources and internal conflict.
The Maya political landscape was highly complex and Maya elites engaged in political intrigue to gain economic and social advantage over neighbours. In the Late Classic, some cities established a long period of dominance over other large cities, such as the dominance of Caracol over Naranjo for half a century. In other cases, loose alliance networks were formed around a dominant city. Border settlements, usually located about halfway between neighbouring capitals, often switched allegiance over the course of their history, and at times acted independently. Dominant capitals exacted tribute in the form of luxury items from subjugated population centres. Political power was reinforced by military power, and the capture and humiliation of enemy warriors played an important part in elite culture. An overriding sense of pride and honour among the warrior aristocracy could lead to extended feuds and vendettas, which caused political instability and the fragmentation of polities.
Society
From the Early Preclassic, Maya society was sharply divided between the elite and commoners. As population increased over time, various sectors of society became increasingly specialised, and political organization became increasingly complex. By the Late Classic, when populations had grown enormously and hundreds of cities were connected in a complex web of political hierarchies, the wealthy segment of society multiplied. A middle class may have developed that included artisans, low ranking priests and officials, merchants, and soldiers. Commoners included farmers, servants, labourers, and slaves. According to indigenous histories, land was held communally by noble houses or clans. Such clans held that the land was the property of the clan ancestors, and such ties between the land and the ancestors were reinforced by the burial of the dead within residential compounds.
King and court
Classic Maya rule was centred in a royal culture that was displayed in all areas of Classic Maya art. The king was the supreme ruler and held a semi-divine status that made him the mediator between the mortal realm and that of the gods. From very early times, kings were specifically identified with the young maize god, whose gift of maize was the basis of Mesoamerican civilization. Maya royal succession was patrilineal, and royal power only passed to queens when doing otherwise would result in the extinction of the dynasty. Typically, power was passed to the eldest son. A young prince was called a chʼok ("youth"), although this word later came to refer to nobility in general. The royal heir was called bʼaah chʼok ("head youth"). Various points in the young prince's childhood were marked by ritual; the most important was a bloodletting ceremony at age five or six years. Although being of the royal bloodline was of utmost importance, the heir also had to be a successful war leader, as demonstrated by taking of captives. The enthronement of a new king was a highly elaborate ceremony, involving a series of separate acts that included enthronement upon a jaguar-skin cushion, human sacrifice, and receiving the symbols of royal power, such as a headband bearing a jade representation of the so-called "jester god", an elaborate headdress adorned with quetzal feathers, and a sceptre representing the god Kʼawiil.
Maya political administration, based around the royal court, was not bureaucratic in nature. Government was hierarchical, and official posts were sponsored by higher-ranking members of the aristocracy; officials tended to be promoted to higher levels of office during the course of their lives. Officials are referred to as being "owned" by their sponsor, and this relationship continued even after the death of the sponsor. The Maya royal court was a vibrant and dynamic political institution. There was no universal structure for the Maya royal court, instead each polity formed a royal court that was suited to its own individual context. A number of royal and noble titles have been identified by epigraphers translating Classic Maya inscriptions. Ajaw is usually translated as "lord" or "king". In the Early Classic, an ajaw was the ruler of a city. Later, with increasing social complexity, the ajaw was a member of the ruling class and a major city could have more than one, each ruling over different districts. Paramount rulers distinguished themselves from the extended nobility by prefixing the word kʼuhul to their ajaw title. A kʼuhul ajaw was "divine lord", originally confined to the kings of the most prestigious and ancient royal lines. Kalomte was a royal title, whose exact meaning is not yet deciphered, but it was held only by the most powerful kings of the strongest dynasties. It indicated an overlord, or high king, and the title was only in use during the Classic period. By the Late Classic, the absolute power of the kʼuhul ajaw had weakened, and the political system had diversified to include a wider aristocracy, that by this time may well have expanded disproportionately.
A sajal was ranked below the ajaw, and indicated a subservient lord. A sajal would be lord of a second- or third-tier site, answering to an ajaw, who may himself have been subservient to a kalomte. A sajal would often be a war captain or regional governor, and inscriptions often link the sajal title to warfare; they are often mentioned as the holders of war captives. Sajal meant "feared one". The titles of ah tzʼihb and ah chʼul hun are both related to scribes. The ah tzʼihb was a royal scribe, usually a member of the royal family; the ah chʼul hun was the Keeper of the Holy Books, a title that is closely associated with the ajaw title, indicating that an ajaw always held the ah chʼul hun title simultaneously. Other courtly titles, the functions of which are not well understood, were yajaw kʼahk''' ("Lord of Fire"), tiʼhuun and ti'sakhuun. These last two may be variations on the same title, and Mark Zender has suggested that the holder of this title may have been the spokesman for the ruler. Courtly titles are overwhelmingly male-oriented, and in those relatively rare occasions where they are applied to a woman, they appear to be used as honorifics for female royalty. Titled elites were often associated with particular structures in the hieroglyphic inscriptions of Classic period cities, indicating that such office holders either owned that structure, or that the structure was an important focus for their activities. A lakam, or standard-bearer, was possibly the only non-elite post-holder in the royal court. The lakam was only found in larger sites, and they appear to have been responsible for the taxation of local districts.
Different factions may have existed in the royal court. The kʼuhul ahaw and his household would have formed the central power-base, but other important groups were the priesthood, the warrior aristocracy, and other aristocratic courtiers. Where ruling councils existed, as at Chichen Itza and Copán, these may have formed an additional faction. Rivalry between different factions would have led to dynamic political institutions as compromises and disagreements were played out. In such a setting, public performance was vital. Such performances included ritual dances, presentation of war captives, offerings of tribute, human sacrifice, and religious ritual.
Commoners
Commoners are estimated to have comprised over 90% of the population, but relatively little is known about them. Their houses were generally constructed from perishable materials, and their remains have left little trace in the archaeological record. Some commoner dwellings were raised on low platforms, and these can be identified, but an unknown quantity of commoner houses were not. Such low-status dwellings can only be detected by extensive remote-sensing surveys of apparently empty terrain. The range of commoners was broad; it consisted of everyone not of noble birth, and therefore included everyone from the poorest farmers to wealthy craftsmen and commoners appointed to bureaucratic positions. Commoners engaged in essential production activities, including that of products destined for use by the elite, such as cotton and cacao, as well as subsistence crops for their own use, and utilitarian items such as ceramics and stone tools. Commoners took part in warfare, and could advance socially by proving themselves as outstanding warriors. Commoners paid taxes to the elite in the form of staple goods such as maize, flour and game. It is likely that hard-working commoners who displayed exceptional skills and initiative could become influential members of Maya society.
Warfare
Warfare was prevalent in the Maya world. Military campaigns were launched for a variety of reasons, including the control of trade routes and tribute, raids to take captives, scaling up to the complete destruction of an enemy state. Little is known about Maya military organization, logistics, or training. Warfare is depicted in Maya art from the Classic period, and wars and victories are mentioned in hieroglyphic inscriptions. Unfortunately, the inscriptions do not provide information upon the causes of war, or the form it took. In the 8th–9th centuries, intensive warfare resulted in the collapse of the kingdoms of the Petexbatún region of western Petén. The rapid abandonment of Aguateca by its inhabitants has provided a rare opportunity to examine the remains of Maya weaponry in situ. Aguateca was stormed by unknown enemies around 810 AD, who overcame its formidable defences and burned the royal palace. The elite inhabitants of the city either fled or were captured, and never returned to collect their abandoned property. The inhabitants of the periphery abandoned the site soon after. This is an example of intensive warfare carried out by an enemy in order to eliminate a Maya state, rather than subjugate it. Research at Aguateca indicated that Classic period warriors were primarily members of the elite.
From as early as the Preclassic period, the ruler of a Maya polity was expected to be a distinguished war leader, and was depicted with trophy heads hanging from his belt. In the Classic period, such trophy heads no longer appeared on the king's belt, but Classic period kings are frequently depicted standing over humiliated war captives. Right up to the end of the Postclassic period, Maya kings led as war captains. Maya inscriptions from the Classic show that a defeated king could be captured, tortured, and sacrificed. The Spanish recorded that Maya leaders kept track of troop movements in painted books.
The outcome of a successful military campaign could vary in its impact on the defeated polity. In some cases, entire cities were sacked, and never resettled, as at Aguateca. In other instances, the victors would seize the defeated rulers, their families, and patron gods. The captured nobles and their families could be imprisoned, or sacrificed. At the least severe end of the scale, the defeated polity would be obliged to pay tribute to the victor.
Warriors
During the Contact period, it is known that certain military positions were held by members of the aristocracy, and were passed on by patrilineal succession. It is likely that the specialised knowledge inherent in the particular military role was taught to the successor, including strategy, ritual, and war dances. Maya armies of the Contact period were highly disciplined, and warriors participated in regular training exercises and drills; every able-bodied adult male was available for military service. Maya states did not maintain standing armies; warriors were mustered by local officials who reported back to appointed warleaders. There were also units of full-time mercenaries who followed permanent leaders. Most warriors were not full-time, however, and were primarily farmers; the needs of their crops usually came before warfare. Maya warfare was not so much aimed at destruction of the enemy as the seizure of captives and plunder.
There is some evidence from the Classic period that women provided supporting roles in war, but they did not act as military officers with the exception of those rare ruling queens. By the Postclassic, the native chronicles suggest that women occasionally fought in battle.
Weapons
The atlatl (spear-thrower) was introduced to the Maya region by Teotihuacan in the Early Classic. This was a stick with a notched end to hold a dart or javelin. The stick was used to launch the missile with more force and accuracy than could be accomplished by simply hurling it with the arm alone. Evidence in the form of stone blade points recovered from Aguateca indicate that darts and spears were the primary weapons of the Classic Maya warrior. Commoners used blowguns in war, which also served as their hunting weapon. The bow and arrow is another weapon that was used by the ancient Maya for both war and hunting. Although present in the Maya region during the Classic period, its use as a weapon of war was not favoured; it did not become a common weapon until the Postclassic. The Contact period Maya also used two-handed swords crafted from strong wood with the blade fashioned from inset obsidian, similar to the Aztec macuahuitl. Maya warriors wore body armour in the form of quilted cotton that had been soaked in salt water to toughen it; the resulting armour compared favourably to the steel armour worn by the Spanish when they conquered the region. Warriors bore wooden or animal hide shields decorated with feathers and animal skins.
Trade
Trade was a key component of Maya society, and in the development of the Maya civilization. The cities that grew to become the most important usually controlled access to vital trade goods, or portage routes. Cities such as Kaminaljuyu and Qʼumarkaj in the Guatemalan Highlands, and Chalchuapa in El Salvador, variously controlled access to the sources of obsidian at different points in Maya history. The Maya were major producers of cotton, which was used to make the textiles to be traded throughout Mesoamerica. The most important cities in the northern Yucatán Peninsula controlled access to the sources of salt. In the Postclassic, the Maya engaged in a flourishing slave trade with wider Mesoamerica.
The Maya engaged in long-distance trade across the Maya region, and across greater Mesoamerica and beyond. As an illustration, an Early Classic Maya merchant quarter has been identified at the distant metropolis of Teotihuacan, in central Mexico. Within Mesoamerica beyond the Maya area, trade routes particularly focused on central Mexico and the Gulf coast. In the Early Classic, Chichen Itza was at the hub of an extensive trade network that imported gold discs from Colombia and Panama, and turquoise from Los Cerrillos, New Mexico. Long-distance trade of both luxury and utilitarian goods was probably controlled by the royal family. Prestige goods obtained by trade were used both for consumption by the city's ruler, and as luxury gifts to consolidate the loyalty of vassals and allies.
Trade routes not only supplied physical goods, they facilitated the movement of people and ideas throughout Mesoamerica. Shifts in trade routes occurred with the rise and fall of important cities in the Maya region, and have been identified in every major reorganization of the Maya civilization, such as the rise of Preclassic Maya civilization, the transition to the Classic, and the Terminal Classic collapse. Even the Spanish Conquest did not immediately terminate all Maya trading activity; for example, the Contact period Manche Chʼol traded the prestige crops of cacao, annatto and vanilla into colonial Verapaz.
Merchants
Little is known of Maya merchants, although they are depicted on Maya ceramics in elaborate noble dress. From this, it is known that at least some traders were members of the elite. During the Contact period, it is known that Maya nobility took part in long-distance trading expeditions. The majority of traders were middle class, but were largely engaged in local and regional trade rather than the prestigious long-distance trading that was the preserve of the elite. The travelling of merchants into dangerous foreign territory was likened to a passage through the underworld; the patron deities of merchants were two underworld gods carrying backpacks. When merchants travelled, they painted themselves black, like their patron gods, and went heavily armed.
The Maya had no pack animals, so all trade goods were carried on the backs of porters when going overland; if the trade route followed a river or the coast, then goods were transported in canoes. A substantial Maya trading canoe was encountered off Honduras on Christopher Columbus's fourth voyage. It was made from a large hollowed-out tree trunk and had a palm-covered canopy. The canoe was broad and was powered by 25 rowers. Trade goods carried included cacao, obsidian, ceramics, textiles, food and drink for the crew, and copper bells and axes. Cacao was used as currency (although not exclusively), and its value was such that counterfeiting occurred by removing the flesh from the pod, and stuffing it with dirt or avocado rind.
Marketplaces
Marketplaces are difficult to identify archaeologically. However, the Spanish reported a thriving market economy when they arrived in the region. At some Classic period cities, archaeologists have tentatively identified formal arcade-style masonry architecture and parallel alignments of scattered stones as the permanent foundations of market stalls. A 2007 study analysed soils from a modern Guatemalan market and compared the results with those obtained from analysis at a proposed ancient market at Chunchucmil. Unusually high levels of zinc and phosphorus at both sites indicated similar food production and vegetable sales activity. The calculated density of market stalls at Chunchucmil strongly suggests that a thriving market economy already existed in the Early Classic. Archaeologists have tentatively identified marketplaces at an increasing number of Maya cities by means of a combination of archaeology and soil analysis. When the Spanish arrived, Postclassic cities in the highlands had markets in permanent plazas, with officials on hand to settle disputes, enforce rules, and collect taxes.
Art
Maya art is essentially the art of the royal court. It is almost exclusively concerned with the Maya elite and their world. Maya art was crafted from both perishable and non-perishable materials, and served to link the Maya to their ancestors. Although surviving Maya art represents only a small proportion of the art that the Maya created, it represents a wider variety of subjects than any other art tradition in the Americas. Maya art has many regional styles, and is unique in the ancient Americas in bearing narrative text. The finest surviving Maya art dates to the Late Classic period.
The Maya exhibited a preference for the colour green or blue-green, and used the same word for the colours blue and green. Correspondingly, they placed high value on apple-green jade, and other greenstones, associating them with the sun-god Kʼinich Ajau. They sculpted artefacts that included fine tesserae and beads, to carved heads weighing . The Maya nobility practised dental modification, and some lords wore encrusted jade in their teeth. Mosaic funerary masks could also be fashioned from jade, such as that of Kʼinich Janaabʼ Pakal, king of Palenque.
Maya stone sculpture emerged into the archaeological record as a fully developed tradition, suggesting that it may have evolved from a tradition of sculpting wood. Because of the biodegradability of wood, the corpus of Maya woodwork has almost entirely disappeared. The few wooden artefacts that have survived include three-dimensional sculptures, and hieroglyphic panels. Stone Maya stelae are widespread in city sites, often paired with low, circular stones referred to as altars in the literature. Stone sculpture also took other forms, such as the limestone relief panels at Palenque and Piedras Negras. At Yaxchilan, Dos Pilas, Copán, and other sites, stone stairways were decorated with sculpture. The hieroglyphic stairway at Copán comprises the longest surviving Maya hieroglyphic text, and consists of 2,200 individual glyphs.
The largest Maya sculptures consisted of architectural façades crafted from stucco. The rough form was laid out on a plain plaster base coating on the wall, and the three-dimensional form was built up using small stones. Finally, this was coated with stucco and moulded into the finished form; human body forms were first modelled in stucco, with their costumes added afterwards. The final stucco sculpture was then brightly painted. Giant stucco masks were used to adorn temple façades by the Late Preclassic, and such decoration continued into the Classic period.
The Maya had a long tradition of mural painting; rich polychrome murals have been excavated at San Bartolo, dating to between 300 and 200 BC. Walls were coated with plaster, and polychrome designs were painted onto the smooth finish. The majority of such murals have not survived, but Early Classic tombs painted in cream, red, and black have been excavated at Caracol, Río Azul, and Tikal. Among the best preserved murals are a full-size series of Late Classic paintings at Bonampak.
Flint, chert, and obsidian all served utilitarian purposes in Maya culture, but many pieces were finely crafted into forms that were never intended to be used as tools. Eccentric flints are among the finest lithic artefacts produced by the ancient Maya. They were technically very challenging to produce, requiring considerable skill on the part of the artisan. Large obsidian eccentrics can measure over in length. Their actual form varies considerably but they generally depict human, animal and geometric forms associated with Maya religion. Eccentric flints show a great variety of forms, such as crescents, crosses, snakes, and scorpions. The largest and most elaborate examples display multiple human heads, with minor heads sometimes branching off from larger one.
Maya textiles are very poorly represented in the archaeological record, although by comparison with other pre-Columbian cultures, such as the Aztecs and the Andean region, it is likely that they were high-value items. A few scraps of textile have been recovered by archaeologists, but the best evidence for textile art is where they are represented in other media, such as painted murals or ceramics. Such secondary representations show the elite of the Maya court adorned with sumptuous cloths, generally these would have been cotton, but jaguar pelts and deer hides are also shown.
Ceramics are the most commonly surviving type of Maya art. The Maya had no knowledge of the potter's wheel, and Maya vessels were built up by coiling rolled strips of clay into the desired form. Maya pottery was not glazed, although it often had a fine finish produced by burnishing. Maya ceramics were painted with clay slips blended with minerals and coloured clays. Ancient Maya firing techniques have yet to be replicated. A quantity of extremely fine ceramic figurines have been excavated from Late Classic tombs on Jaina Island, in northern Yucatán. They stand from high and were hand modelled, with exquisite detail. The Ik-style polychrome ceramic corpus, including finely painted plates and cylindrical vessels, originated in Late Classic Motul de San José. It includes a set of features such as hieroglyphs painted in a pink or pale red colour and scenes with dancers wearing masks. One of the most distinctive features is the realistic representation of subjects as they appeared in life. The subject matter of the vessels includes courtly life from the Petén region in the 8th century AD, such as diplomatic meetings, feasting, bloodletting, scenes of warriors and the sacrifice of prisoners of war.
Bone, both human and animal, was also sculpted; human bones may have been trophies, or relics of ancestors. The Maya valued Spondylus shells, and worked them to remove the white exterior and spines, to reveal the fine orange interior. Around the 10th century AD, metallurgy arrived in Mesoamerica from South America, and the Maya began to make small objects in gold, silver and copper. The Maya generally hammered sheet metal into objects such as beads, bells, and discs. In the last centuries before the Spanish Conquest, the Maya began to use the lost-wax method to cast small metal pieces.
One poorly studied area of Maya folk art is graffiti. Additional graffiti, not part of the planned decoration, was incised into the stucco of interior walls, floors, and benches, in a wide variety of buildings, including temples, residences, and storerooms. Graffiti has been recorded at 51 Maya sites, particularly clustered in the Petén Basin and southern Campeche, and the Chenes region of northwestern Yucatán. At Tikal, where a great quantity of graffiti has been recorded, the subject matter includes drawings of temples, people, deities, animals, banners, litters, and thrones. Graffiti was often inscribed haphazardly, with drawings overlapping each other, and display a mix of crude, untrained art, and examples by artists who were familiar with Classic-period artistic conventions.
Architecture
The Maya produced a vast array of structures, and have left an extensive architectural legacy. Maya architecture also incorporates various art forms and hieroglyphic texts. Masonry architecture built by the Maya evidences craft specialization in Maya society, centralised organization and the political means to mobilize a large workforce. It is estimated that a large elite residence at Copán required an estimated 10,686 man-days to build, which compares to 67-man-days for a commoner's hut. It is further estimated that 65% of the labour required to build the noble residence was used in the quarrying, transporting, and finishing of the stone used in construction, and 24% of the labour was required for the manufacture and application of limestone-based plaster. Altogether, it is estimated that two to three months were required for the construction of the residence for this single noble at Copán, using between 80 and 130 full-time labourers. A Classic-period city like Tikal was spread over , with an urban core covering . The labour required to build such a city was immense, running into many millions of man-days. The most massive structures ever erected by the Maya were built during the Preclassic period. Craft specialization would have required dedicated stonemasons and plasterers by the Late Preclassic, and would have required planners and architects.
Urban design
Maya cities were not formally planned, and were subject to irregular expansion, with the haphazard addition of palaces, temples and other buildings. Most Maya cities tended to grow outwards from the core, and upwards as new structures were superimposed upon preceding architecture. Maya cities usually had a ceremonial and administrative centre surrounded by a vast irregular sprawl of residential complexes. The centres of all Maya cities featured sacred precincts, sometimes separated from nearby residential areas by walls. These precincts contained pyramid temples and other monumental architecture dedicated to elite activities, such as basal platforms that supported administrative or elite residential complexes. Sculpted monuments were raised to record the deeds of the ruling dynasty. City centres also featured plazas, sacred ballcourts and buildings used for marketplaces and schools. Frequently causeways linked the centre to outlying areas of the city. Some of these classes of architecture formed lesser groups in the outlying areas of the city, which served as sacred centres for non-royal lineages. The areas adjacent to these sacred compounds included residential complexes housing wealthy lineages. The largest and richest of these elite compounds sometimes possessed sculpture and art of craftsmanship equal to that of royal art.
The ceremonial centre of the Maya city was where the ruling elite lived, and where the administrative functions of the city were performed, together with religious ceremonies. It was also where the inhabitants of the city gathered for public activities. Elite residential complexes occupied the best land around the city centre, while commoners had their residences dispersed further away from the ceremonial centre. Residential units were built on top of stone platforms to raise them above the level of the rain season floodwaters.
Building materials and methods
The Maya built their cities with Neolithic technology; they built their structures from both perishable materials and from stone. The exact type of stone used in masonry construction varied according to locally available resources, and this also affected the building style. Across a broad swathe of the Maya area, limestone was immediately available. The local limestone is relatively soft when freshly cut, but hardens with exposure. There was great variety in the quality of limestone, with good-quality stone available in the Usumacinta region; in the northern Yucatán, the limestone used in construction was of relatively poor quality. Volcanic tuff was used at Copán, and nearby Quiriguá employed sandstone. In Comalcalco, where suitable stone was not available locally, fired bricks were employed. Limestone was burned at high temperatures in order to manufacture cement, plaster, and stucco. Lime-based cement was used to seal stonework in place, and stone blocks were fashioned using rope-and-water abrasion, and with obsidian tools. The Maya did not employ a functional wheel, so all loads were transported on litters, barges, or rolled on logs. Heavy loads were lifted with rope, but probably without employing pulleys.
Wood was used for beams, and for lintels, even in masonry structures. Throughout Maya history, common huts and some temples continued to be built from wooden poles and thatch. Adobe was also applied; this consisted of mud strengthened with straw and was applied as a coating over the woven-stick walls of huts. Like wood and thatch, adobe was used throughout Maya history, even after the development of masonry structures. In the southern Maya area, adobe was employed in monumental architecture when no suitable stone was locally available.
Principal construction types
The great cities of the Maya civilization were composed of pyramid temples, palaces, ballcourts, sacbeob (causeways), patios and plazas. Some cities also possessed extensive hydraulic systems or defensive walls. The exteriors of most buildings were painted, either in one or multiple colours, or with imagery. Many buildings were adorned with sculpture or painted stucco reliefs.
Palaces and acropoleis
These complexes were usually located in the site core, beside a principal plaza. Maya palaces consisted of a platform supporting a multiroom range structure. The term acropolis, in a Maya context, refers to a complex of structures built upon platforms of varying height. Palaces and acropoleis were essentially elite residential compounds. They generally extended horizontally as opposed to the towering Maya pyramids, and often had restricted access. Some structures in Maya acropoleis supported roof combs. Rooms often had stone benches, used for sleeping, and holes indicate where curtains once hung. Large palaces, such as at Palenque, could be fitted with a water supply, and sweat baths were often found within the complex, or nearby. During the Early Classic, rulers were sometimes buried underneath the acropolis complex. Some rooms in palaces were true throne rooms; in the royal palace of Palenque there were a number of throne rooms that were used for important events, including the inauguration of new kings.
Palaces are usually arranged around one or more courtyards, with their façades facing inwards; some examples are adorned with sculpture. Some palaces possess associated hieroglyphic descriptions that identify them as the royal residences of named rulers. There is abundant evidence that palaces were far more than simple elite residences, and that a range of courtly activities took place in them, including audiences, formal receptions, and important rituals.
Pyramids and temples
Temples were sometimes referred to in hieroglyphic texts as kʼuh nah, meaning "god's house". Temples were raised on platforms, most often upon a pyramid. The earliest temples were probably thatched huts built upon low platforms. By the Late Preclassic period, their walls were of stone, and the development of the corbel arch allowed stone roofs to replace thatch. By the Classic period, temple roofs were being topped with roof combs that extended the height of the temple and served as a foundation for monumental art. The temple shrines contained between one and three rooms, and were dedicated to important deities. Such a deity might be one of the patron gods of the city, or a deified ancestor. In general, freestanding pyramids were shrines honouring powerful ancestors.
E-Groups and observatories
The Maya were keen observers of the sun, stars, and planets. E-Groups were a particular arrangement of temples that were relatively common in the Maya region; they take their names from Group E at Uaxactun. They consisted of three small structures facing a fourth structure, and were used to mark the solstices and equinoxes. The earliest examples date to the Preclassic period. The Lost World complex at Tikal started out as an E-Group built towards the end of the Middle Preclassic. Due to its nature, the basic layout of an E-Group was constant. A structure was built on the west side of a plaza; it was usually a radial pyramid with stairways facing the cardinal directions. It faced east across the plaza to three small temples on the far side. From the west pyramid, the sun was seen to rise over these temples on the solstices and equinoxes. E-Groups were raised across the central and southern Maya area for over a millennium; not all were properly aligned as observatories, and their function may have been symbolic.
As well as E-Groups, the Maya built other structures dedicated to observing the movements of celestial bodies. Many Maya buildings were aligned with astronomical bodies, including the planet Venus, and various constellations. The Caracol structure at Chichen Itza was a circular multi-level edifice, with a conical superstructure. It has slit windows that marked the movements of Venus. At Copán, a pair of stelae were raised to mark the position of the setting sun at the equinoxes.
Triadic pyramids
Triadic pyramids first appeared in the Preclassic. They consisted of a dominant structure flanked by two smaller inward-facing buildings, all mounted upon a single basal platform. The largest known triadic pyramid was built at El Mirador in the Petén Basin; it covers an area six times as large as that covered by Temple IV, the largest pyramid at Tikal. The three superstructures all have stairways leading up from the central plaza on top of the basal platform. No securely established forerunners of Triadic Groups are known, but they may have developed from the eastern range building of E-Group complexes. The triadic form was the predominant architectural form in the Petén region during the Late Preclassic. Examples of triadic pyramids are known from as many as 88 archaeological sites. At Nakbe, there are at least a dozen examples of triadic complexes and the four largest structures in the city are triadic in nature. At El Mirador there are probably as many as 36 triadic structures. Examples of the triadic form are even known from Dzibilchaltun in the far north of the Yucatán Peninsula, and Qʼumarkaj in the Highlands of Guatemala. The triadic pyramid remained a popular architectural form for centuries after the first examples were built; it continued in use into the Classic Period, with later examples being found at Uaxactun, Caracol, Seibal, Nakum, Tikal and Palenque. The Qʼumarkaj example is the only one that has been dated to the Postclassic Period. The triple-temple form of the triadic pyramid appears to be related to Maya mythology.
Ballcourts
The ballcourt is a distinctive pan-Mesoamerican form of architecture. Although the majority of Maya ballcourts date to the Classic period, the earliest examples appeared around 1000 BC in northwestern Yucatán, during the Middle Preclassic. By the time of Spanish contact, ballcourts were only in use in the Guatemalan Highlands, at cities such as Qʼumarkaj and Iximche. Throughout Maya history, ballcourts maintained a characteristic form consisting of an ɪ shape, with a central playing area terminating in two transverse end zones. The central playing area usually measures between long, and is flanked by two lateral structures that stood up to high. The lateral platforms often supported structures that may have held privileged spectators. The Great Ballcourt at Chichen Itza is the largest in Mesoamerica, measuring long by wide, with walls standing high.
Regional architectural styles
Although Maya cities shared many common features, there was considerable variation in architectural style. Such styles were influenced by locally available construction materials, climate, topography, and local preferences. In the Late Classic, these local differences developed into distinctive regional architectural styles.
Central Petén
The central Petén style of architecture is modelled after the great city of Tikal. The style is characterised by tall pyramids supporting a summit shrine adorned with a roof comb, and accessed by a single doorway. Additional features are the use of stela-altar pairings, and the decoration of architectural façades, lintels, and roof combs with relief sculptures of rulers and gods. One of the finest examples of Central Petén style architecture is Tikal Temple I. Examples of sites in the Central Petén style include Altun Ha, Calakmul, Holmul, Ixkun, Nakum, Naranjo, and Yaxhá.
Puuc
The exemplar of Puuc-style architecture is Uxmal. The style developed in the Puuc Hills of northwestern Yucatán; during the Terminal Classic it spread beyond this core region across the northern Yucatán Peninsula. Puuc sites replaced rubble cores with lime cement, resulting in stronger walls, and also strengthened their corbel arches; this allowed Puuc-style cities to build freestanding entrance archways. The upper façades of buildings were decorated with precut stones mosaic-fashion, erected as facing over the core, forming elaborate compositions of long-nosed deities such as the rain god Chaac and the Principal Bird Deity. The motifs also included geometric patterns, lattices and spools, possibly influenced by styles from highland Oaxaca, outside the Maya area. In contrast, the lower façades were left undecorated. Roof combs were relatively uncommon at Puuc sites.
Chenes
The Chenes style is very similar to the Puuc style, but predates the use of the mosaic façades of the Puuc region. It featured fully adorned façades on both the upper and lower sections of structures. Some doorways were surrounded by mosaic masks of monsters representing mountain or sky deities, identifying the doorways as entrances to the supernatural realm. Some buildings contained interior stairways that accessed different levels. The Chenes style is most commonly encountered in the southern portion of the Yucatán Peninsula, although individual buildings in the style can be found elsewhere in the peninsula. Examples of Chenes sites include Dzibilnocac, Hochob, Santa Rosa Xtampak, and Tabasqueño.
Río Bec
The Río Bec style forms a sub-region of the Chenes style, and also features elements of the Central Petén style, such as prominent roof combs. Its palaces are distinctive for their false-tower decorations, lacking interior rooms, with steep, almost vertical, stairways and false doors. These towers were adorned with deity masks, and were built to impress the viewer, rather than serve any practical function. Such false towers are only found in the Río Bec region. Río Bec sites include Chicanná, Hormiguero, and Xpuhil.
Usumacinta
The Usumacinta style developed in the hilly terrain of the Usumacinta drainage. Cities took advantage of the hillsides to support their major architecture, as at Palenque and Yaxchilan. Sites modified corbel vaulting to allow thinner walls and multiple access doors to temples. As in Petén, roof combs adorned principal structures. Palaces had multiple entrances that used post-and-lintel entrances rather than corbel vaulting. Many sites erected stelae, but Palenque instead developed finely sculpted panelling to decorate its buildings.
Language
Before 2000 BC, the Maya spoke a single language, dubbed proto-Mayan by linguists. Linguistic analysis of reconstructed Proto-Mayan vocabulary suggests that the original Proto-Mayan homeland was in the western or northern Guatemalan Highlands, although the evidence is not conclusive. Proto-Mayan diverged during the Preclassic period to form the major Mayan language groups that make up the family, including Huastecan, Greater Kʼicheʼan, Greater Qʼanjobalan, Mamean, Tzʼeltalan-Chʼolan, and Yucatecan. These groups diverged further during the pre-Columbian era to form over 30 languages that have survived into modern times. The language of almost all Classic Maya texts over the entire Maya area has been identified as Chʼolan; Late Preclassic text from Kaminaljuyu, in the highlands, also appears to be in, or related to, Chʼolan. The use of Chʼolan as the language of Maya text does not necessarily indicate that it was the language commonly used by the local populace – it may have been equivalent to Medieval Latin as a ritual or prestige language. Classic Chʼolan may have been the prestige language of the Classic Maya elite, used in inter-polity communication such as diplomacy and trade. By the Postclassic period, Yucatec was also being written in Maya codices alongside Chʼolan.
Writing and literacy
The Maya writing system is one of the outstanding achievements of the pre-Columbian inhabitants of the Americas. It was the most sophisticated and highly developed writing system of more than a dozen systems that developed in Mesoamerica. The earliest inscriptions in an identifiably Maya script date back to 300–200 BC, in the Petén Basin. However, this is preceded by several other Mesoamerican writing systems, such as the Epi-Olmec and Zapotec scripts. Early Maya script had appeared on the Pacific coast of Guatemala by the late 1st century AD, or early 2nd century. Similarities between the Isthmian script and Early Maya script of the Pacific coast suggest that the two systems developed in tandem. By about AD 250, the Maya script had become a more formalised and consistent writing system.
The Catholic Church and colonial officials, notably Bishop Diego de Landa, destroyed Maya texts wherever they found them, and with them the knowledge of Maya writing, but by chance three uncontested pre-Columbian books dated to the Postclassic period have been preserved. These are known as the Madrid Codex, the Dresden Codex and the Paris Codex. A few pages survive from a fourth, the Grolier Codex, whose authenticity is disputed. Archaeology conducted at Maya sites often reveals other fragments, rectangular lumps of plaster and paint chips which were codices; these tantalizing remains are, however, too severely damaged for any inscriptions to have survived, most of the organic material having decayed. In reference to the few extant Maya writings, Michael D. Coe stated:
Most surviving pre-Columbian Maya writing dates to the Classic period and is contained in stone inscriptions from Maya sites, such as stelae, or on ceramics vessels. Other media include the aforementioned codices, stucco façades, frescoes, wooden lintels, cave walls, and portable artefacts crafted from a variety of materials, including bone, shell, obsidian, and jade.
Writing system
The Maya writing system (often called hieroglyphs from a superficial resemblance to Ancient Egyptian writing) is a logosyllabic writing system, combining a syllabary of phonetic signs representing syllables with logogram representing entire words.Tanaka 2008, pp. 30, 53. Among the writing systems of the Pre-Columbian New World, Maya script most closely represents the spoken language. At any one time, no more than around 500 glyphs were in use, some 200 of which (including variations) were phonetic.
The Maya script was in use up to the arrival of the Europeans, its use peaking during the Classic Period. In excess of 10,000 individual texts have been recovered, mostly inscribed on stone monuments, lintels, stelae and ceramics. The Maya also produced texts painted on a form of paper manufactured from processed tree-bark generally now known by its Nahuatl-language name amatl used to produce codices.Tobin 2001. The skill and knowledge of Maya writing persisted among segments of the population right up to the Spanish conquest. The knowledge was subsequently lost, as a result of the impact of the conquest on Maya society.
The decipherment and recovery of the knowledge of Maya writing has been a long and laborious process. Some elements were first deciphered in the late 19th and early 20th century, mostly the parts having to do with numbers, the Maya calendar, and astronomy. Major breakthroughs were made from the 1950s to 1970s, and accelerated rapidly thereafter. By the end of the 20th century, scholars were able to read the majority of Maya texts, and ongoing work continues to further illuminate the content.Kettunen & Helmke 2014, p. 9.
Logosyllabic script
The basic unit of Maya logosyllabic text is the glyph block, which transcribes a word or phrase. The block is composed of one or more individual glyphs attached to each other to form the glyph block, with individual glyph blocks generally being separated by a space. Glyph blocks are usually arranged in a grid pattern. For ease of reference, epigraphers refer to glyph blocks from left to right alphabetically, and top to bottom numerically. Thus, any glyph block in a piece of text can be identified. C4 would be third block counting from the left, and the fourth block counting downwards. If a monument or artefact has more than one inscription, column labels are not repeated, rather they continue in the alphabetic series; if there are more than 26 columns, the labelling continues as A', B', etc. Numeric row labels restart from 1 for each discrete unit of text.
Although Mayan text may be laid out in varying manners, generally it is arranged into double columns of glyph blocks. The reading order of text starts at the top left (block A1), continues to the second block in the double-column (B1), then drops down a row and starts again from the left half of the double column (A2), and thus continues in zig-zag fashion. Once the bottom is reached, the inscription continues from the top left of the next double column. Where an inscription ends in a single (unpaired) column, this final column is usually read straight downwards.
Individual glyph blocks may be composed of a number of elements. These consist of the main sign, and any affixes. Main signs represent the major element of the block, and may be a noun, verb, adverb, adjective, or phonetic sign. Some main signs are abstract, some are pictures of the object they represent, and others are "head variants", personifications of the word they represent. Affixes are smaller rectangular elements, usually attached to a main sign, although a block may be composed entirely of affixes. Affixes may represent a wide variety of speech elements, including nouns, verbs, verbal suffixes, prepositions, pronouns, and more. Small sections of a main sign could be used to represent the whole main sign, and Maya scribes were highly inventive in their usage and adaptation of glyph elements.
Writing tools
Although the archaeological record does not provide examples of brushes or pens, analysis of ink strokes on the Postclassic codices suggests that it was applied with a brush with a tip fashioned from pliable hair. A Classic period sculpture from Copán, Honduras, depicts a scribe with an inkpot fashioned from a conch shell. Excavations at Aguateca uncovered a number of scribal artefacts from the residences of elite status scribes, including palettes and mortars and pestles.
Scribes and literacy
Commoners were illiterate; scribes were drawn from the elite. It is not known if all members of the aristocracy could read and write, although at least some women could, since there are representations of female scribes in Maya art. Maya scribes were called aj tzʼib, meaning "one who writes or paints". There were probably scribal schools where members of the aristocracy were taught to write. Scribal activity is identifiable in the archaeological record; Jasaw Chan Kʼawiil I, king of Tikal, was interred with his paint pot. Some junior members of the Copán royal dynasty have also been found buried with their writing implements. A palace at Copán has been identified as that of a noble lineage of scribes; it is decorated with sculpture that includes figures holding ink pots.
Although not much is known about Maya scribes, some did sign their work, both on ceramics and on stone sculpture. Usually, only a single scribe signed a ceramic vessel, but multiple sculptors are known to have recorded their names on stone sculpture; eight sculptors signed one stela at Piedras Negras. However, most works remained unsigned by their artists.
Mathematics
In common with the other Mesoamerican civilizations, the Maya used a base 20 (vigesimal) system. The bar-and-dot counting system that is the base of Maya numerals was in use in Mesoamerica by 1000 BC; the Maya adopted it by the Late Preclassic, and added the symbol for zero. This may have been the earliest known occurrence of the idea of an explicit zero worldwide, although it may have been predated by the Babylonian system. The earliest explicit use of zero occurred on monuments dated to 357 AD. In its earliest uses, the zero served as a place holder, indicating an absence of a particular calendrical count. This later developed into a numeral that was used to perform calculation, and was used in hieroglyphic texts for more than a thousand years, until the writing system was extinguished by the Spanish.
The basic number system consists of a dot to represent one, and a bar to represent five. By the Postclassic period a shell symbol represented zero; during the Classic period other glyphs were used. The Maya numerals from 0 to 19 used repetitions of these symbols. The value of a numeral was determined by its position; as a numeral shifted upwards, its basic value multiplied by twenty. In this way, the lowest symbol would represent units, the next symbol up would represent multiples of twenty, and the symbol above that would represent multiples of 400, and so on. For example, the number 884 would be written with four dots on the lowest level, four dots on the next level up, and two dots on the next level after that, to give 4×1 + 4×20 + 2×400 = 884. Using this system, the Maya were able to record huge numbers. Simple addition could be performed by summing the dots and bars in two columns to give the result in a third column.
Calendar
The Maya calendrical system, in common with other Mesoamerican calendars, had its origins in the Preclassic period. However, it was the Maya that developed the calendar to its maximum sophistication, recording lunar and solar cycles, eclipses and movements of planets with great accuracy. In some cases, the Maya calculations were more accurate than equivalent calculations in the Old World; for example, the Maya solar year was calculated to greater accuracy than the Julian year. The Maya calendar was intrinsically tied to Maya ritual, and it was central to Maya religious practices. The calendar combined a non-repeating Long Count with three interlocking cycles, each measuring a progressively larger period. These were the 260-day tzolkʼin, the 365-day haabʼ, and the 52-year Calendar Round, resulting from the combination of the tzolkʼin with the haab'. There were also additional calendric cycles, such as an 819-day cycle associated with the four quadrants of Maya cosmology, governed by four different aspects of the god Kʼawiil.
The basic unit in the Maya calendar was one day, or kʼin, and 20 kʼin grouped to form a winal. The next unit, instead of being multiplied by 20, as called for by the vigesimal system, was multiplied by 18 in order to provide a rough approximation of the solar year (hence producing 360 days). This 360-day year was called a tun. Each succeeding level of multiplication followed the vigesimal system.
The 260-day tzolkʼin provided the basic cycle of Maya ceremony, and the foundations of Maya prophecy. No astronomical basis for this count has been proved, and it may be that the 260-day count is based on the human gestation period. This is reinforced by the use of the tzolkʼin to record dates of birth, and provide corresponding prophecy. The 260-day cycle repeated a series of 20-day-names, with a number from 1 to 13 prefixed to indicated where in the cycle a particular day occurred.
The 365-day haab was produced by a cycle of eighteen named 20-day winals, completed by the addition of a 5-day period called the wayeb. The wayeb was considered to be a dangerous time, when the barriers between the mortal and supernatural realms were broken, allowing malignant deities to cross over and interfere in human concerns. In a similar way to the tzʼolkin, the named winal would be prefixed by a number (from 0 to 19), in the case of the shorter wayeb period, the prefix numbers ran 0 to 4. Since each day in the tzʼolkin had a name and number (e.g. 8 Ajaw), this would interlock with the haab, producing an additional number and name, to give any day a more complete designation, for example 8 Ajaw 13 Keh. Such a day name could only recur once every 52 years, and this period is referred to by Mayanists as the Calendar Round. In most Mesoamerican cultures, the Calendar Round was the largest unit for measuring time.
As with any non-repeating calendar, the Maya measured time from a fixed start point. The Maya set the beginning of their calendar as the end of a previous cycle of bakʼtuns, equivalent to a day in 3114 BC. This was believed by the Maya to be the day of the creation of the world in its current form. The Maya used the Long Count Calendar to fix any given day of the Calendar Round within their current great Piktun cycle consisting of either 20 bakʼtuns. There was some variation in the calendar, specifically texts in Palenque demonstrate that the piktun cycle that ended in 3114 BC had only 13 bakʼtuns, but others used a cycle of 13 + 20 bakʼtun in the current piktun. Additionally, there may have been some regional variation in how these exceptional cycles were managed.
A full long count date consisted of an introductory glyph followed by five glyphs counting off the number of bakʼtuns, katʼuns, tuns, winals, and kʼins since the start of the current creation. This would be followed by the tzʼolkin portion of the Calendar Round date, and after a number of intervening glyphs, the Long Count date would end with the Haab portion of the Calendar Round date.
Correlation of the Long Count calendar
Although the Calendar Round is still in use today, the Maya started using an abbreviated Short Count during the Late Classic period. The Short Count is a count of 13 kʼatuns. The Book of Chilam Balam of Chumayel contains the only colonial reference to classic long-count dates. The most generally accepted correlation is the Goodman-Martínez-Thompson, or GMT, correlation. This equates the Long Count date 11.16.0.0.0 13 Ajaw 8 Xul with the Gregorian date of 12 November 1539. Epigraphers Simon Martin and Nikolai Grube argue for a two-day shift from the standard GMT correlation. The Spinden Correlation would shift the Long Count dates back by 260 years; it also accords with the documentary evidence, and is better suited to the archaeology of the Yucatán Peninsula, but presents problems with the rest of the Maya region. The George Vaillant Correlation would shift all Maya dates 260 years later, and would greatly shorten the Postclassic period. Radiocarbon dating of dated wooden lintels at Tikal supports the GMT correlation.
Astronomy
The Maya made meticulous observations of celestial bodies, patiently recording astronomical data on the movements of the sun, moon, Venus, and the stars. This information was used for divination, so Maya astronomy was essentially for astrological purposes. Although Maya astronomy was mainly used by the priesthood to comprehend past cycles of time, and project them into the future to produce prophecy, it also had some practical applications, such as providing aid in crop planting and harvesting. The priesthood refined observations and recorded eclipses of the sun and moon, and movements of Venus and the stars; these were measured against dated events in the past, on the assumption that similar events would occur in the future when the same astronomical conditions prevailed. Illustrations in the codices show that priests made astronomical observations using the naked eye, assisted by crossed sticks as a sighting device. Analysis of the few remaining Postclassic codices has revealed that, at the time of European contact, the Maya had recorded eclipse tables, calendars, and astronomical knowledge that was more accurate at that time than comparable knowledge in Europe.
The Maya measured the 584-day Venus cycle with an error of just two hours. Five cycles of Venus equated to eight 365-day haab calendrical cycles, and this period was recorded in the codices. The Maya also followed the movements of Jupiter, Mars and Mercury. When Venus rose as the Morning Star, this was associated with the rebirth of the Maya Hero Twins. For the Maya, the heliacal rising of Venus was associated with destruction and upheaval. Venus was closely associated with warfare, and the hieroglyph meaning "war" incorporated the glyph-element symbolizing the planet. Sight-lines through the windows of the Caracol building at Chichen Itza align with the northernmost and southernmost extremes of Venus' path. Maya rulers launched military campaigns to coincide with the heliacal or cosmical rising of Venus, and would also sacrifice important captives to coincide with such conjunctions.
Solar and lunar eclipses were considered to be especially dangerous events that could bring catastrophe upon the world. In the Dresden Codex, a solar eclipse is represented by a serpent devouring the kʼin ("day") hieroglyph. Eclipses were interpreted as the sun or moon being bitten, and lunar tables were recorded in order that the Maya might be able to predict them, and perform the appropriate ceremonies to ward off disaster.
Religion and mythology
In common with the rest of Mesoamerica, the Maya believed in a supernatural realm inhabited by an array of powerful deities who needed to be placated with ceremonial offerings and ritual practices. At the core of Maya religious practice was the worship of deceased ancestors, who would intercede for their living descendants in dealings with the supernatural realm. The earliest intermediaries between humans and the supernatural were shamans. Maya ritual included the use of hallucinogens for chilan, oracular priests. Visions for the chilan were likely facilitated by consumption of water lilies, which are hallucinogenic in high doses. As the Maya civilization developed, the ruling elite codified the Maya world view into religious cults that justified their right to rule. In the Late Preclassic, this process culminated in the institution of the divine king, the kʼuhul ajaw, endowed with ultimate political and religious power.
The Maya viewed the cosmos as highly structured. There were thirteen levels in the heavens and nine in the underworld, with the mortal world in between. Each level had four cardinal directions associated with a different colour; north was white, east was red, south was yellow, and west was black. Major deities had aspects associated with these directions and colours.
Maya households interred their dead underneath the floors, with offerings appropriate to the social status of the family. There the dead could act as protective ancestors. Maya lineages were patrilineal, so the worship of a prominent male ancestor would be emphasised, often with a household shrine. As Maya society developed, and the elite became more powerful, Maya royalty developed their household shrines into the great pyramids that held the tombs of their ancestors.
Belief in supernatural forces pervaded Maya life and influenced every aspect of it, from the simplest day-to-day activities such as food preparation, to trade, politics, and elite activities. Maya deities governed all aspects of the world, both visible and invisible. The Maya priesthood was a closed group, drawing its members from the established elite; by the Early Classic they were recording increasingly complex ritual information in their hieroglyphic books, including astronomical observations, calendrical cycles, history and mythology. The priests performed public ceremonies that incorporated feasting, bloodletting, incense burning, music, ritual dance, and, on certain occasions, human sacrifice. During the Classic period, the Maya ruler was the high priest, and the direct conduit between mortals and the gods. It is highly likely that, among commoners, shamanism continued in parallel to state religion. By the Postclassic, religious emphasis had changed; there was an increase in worship of the images of deities, and more frequent recourse to human sacrifice.
Archaeologists painstakingly reconstruct these ritual practices and beliefs using several techniques. One important, though incomplete, resource is physical evidence, such as dedicatory caches and other ritual deposits, shrines, and burials with their associated funerary offerings. Maya art, architecture, and writing are another resource, and these can be combined with ethnographic sources, including records of Maya religious practices made by the Spanish during the conquest.
Human sacrifice
Blood was viewed as a potent source of nourishment for the Maya deities, and the sacrifice of a living creature was a powerful blood offering. By extension, the sacrifice of a human life was the ultimate offering of blood to the gods, and the most important Maya rituals culminated in human sacrifice. Generally only high status prisoners of war were sacrificed, with lower status captives being used for labour.
Important rituals such as the dedication of major building projects or the enthronement of a new ruler required a human offering. The sacrifice of an enemy king was the most prized, and such a sacrifice involved decapitation of the captive ruler, perhaps in a ritual reenactment of the decapitation of the Maya maize god by the death gods. In AD 738, the vassal king Kʼakʼ Tiliw Chan Yopaat of Quiriguá captured his overlord, Uaxaclajuun Ubʼaah Kʼawiil of Copán and a few days later ritually decapitated him. Sacrifice by decapitation is depicted in Classic period Maya art, and sometimes took place after the victim was tortured, being variously beaten, scalped, burnt or disembowelled. Another myth associated with decapitation was that of the Hero Twins recounted in the Popol Vuh: playing a ballgame against the gods of the underworld, the heroes achieved victory, but one of each pair of twins was decapitated by their opponents.
During the Postclassic period, the most common form of human sacrifice was heart extraction, influenced by the rites of the Aztecs in the Valley of Mexico; this usually took place in the courtyard of a temple, or upon the summit of the pyramid. In one ritual, the corpse would be skinned by assistant priests, except for the hands and feet, and the officiating priest would then dress himself in the skin of the sacrificial victim and perform a ritual dance symbolizing the rebirth of life. Archaeological investigations indicate that heart sacrifice was practised as early as the Classic period.
Deities
The Maya world was populated by a great variety of deities, supernatural entities and sacred forces. The Maya had such a broad interpretation of the sacred that identifying distinct deities with specific functions is inaccurate. The Maya interpretation of deities was closely tied to the calendar, astronomy, and their cosmology. The importance of a deity, its characteristics, and its associations varied according to the movement of celestial bodies. The priestly interpretation of astronomical records and books was therefore crucial, since the priest would understand which deity required ritual propitiation, when the correct ceremonies should be performed, and what would be an appropriate offering. Each deity had four manifestations, associated with the cardinal directions, each identified with a different colour. They also had a dual day-night/life-death aspect.
Itzamna was the creator god, but he also embodied the cosmos, and was simultaneously a sun god; Kʼinich Ahau, the day sun, was one of his aspects. Maya kings frequently identified themselves with Kʼinich Ahau. Itzamna also had a night sun aspect, the Night Jaguar, representing the sun in its journey through the underworld. The four Pawatuns supported the corners of the mortal realm; in the heavens, the Bacabs performed the same function. As well as their four main aspects, the Bakabs had dozens of other aspects that are not well understood. The four Chaacs were storm gods, controlling thunder, lightning, and the rains. The nine lords of the night each governed one of the underworld realms. Other important deities included the moon goddess, the maize god, and the Hero Twins.
The Popol Vuh was written in the Latin script in early colonial times, and was probably transcribed from a hieroglyphic book by an unknown Kʼicheʼ Maya nobleman. It is one of the most outstanding works of indigenous literature in the Americas. The Popul Vuh recounts the mythical creation of the world, the legend of the Hero Twins, and the history of the Postclassic Kʼicheʼ kingdom. Deities recorded in the Popul Vuh include Hun Hunahpu, believed by some to be the Kʼicheʼ maize god, and a triad of deities led by the Kʼicheʼ patron Tohil, and also including the moon goddess Awilix, and the mountain god Jacawitz.
In common with other Mesoamerican cultures, the Maya worshipped feathered serpent deities. Such worship was rare during the Classic period, but by the Postclassic the feathered serpent had spread to both the Yucatán Peninsula and the Guatemalan Highlands. In Yucatán, the feathered serpent deity was Kukulkan, among the Kʼicheʼ it was Qʼuqʼumatz. Kukulkan had his origins in the Classic period War Serpent, Waxaklahun Ubah Kan'', and has also been identified as the Postclassic version of the Vision Serpent of Classic Maya art. Although the cult of Kukulkan had its origins in these earlier Maya traditions, the worship of Kukulkan was heavily influenced by the Quetzalcoatl cult of central Mexico. Likewise, Qʼuqʼumatz had a composite origin, combining the attributes of Mexican Quetzalcoatl with aspects of the Classic period Itzamna.
Agriculture
The ancient Maya had diverse and sophisticated methods of food production. It was believed that shifting cultivation (swidden) agriculture provided most of their food, but it is now thought that permanent raised fields, terracing, intensive gardening, forest gardens, and managed fallows were also crucial to supporting the large populations of the Classic period in some areas. Indeed, evidence of these different agricultural systems persist today: raised fields connected by canals can be seen on aerial photographs. Contemporary rainforest species composition has significantly higher abundance of species of economic value to ancient Maya in areas that were densely populated in pre-Columbian times, and pollen records in lake sediments suggest that maize, manioc, sunflower seeds, cotton, and other crops have been cultivated in association with deforestation in Mesoamerica since at least 2500 BC.
The basic staples of the Maya diet were maize, beans, and squashes. These were supplemented with a wide variety of other plants either cultivated in gardens or gathered in the forest. At Joya de Cerén, a volcanic eruption preserved a record of foodstuffs stored in Maya homes, among them were chilies and tomatoes. Cotton seeds were in the process of being ground, perhaps to produce cooking oil. In addition to basic foodstuffs, the Maya also cultivated prestige crops such as cotton, cacao and vanilla. Cacao was especially prized by the elite, who consumed chocolate beverages. Cotton was spun, dyed, and woven into valuable textiles in order to be traded.
The Maya had few domestic animals; dogs were domesticated by 3000 BC, and the Muscovy duck by the Late Postclassic. Ocellated turkeys were unsuitable for domestication, but were rounded up in the wild and penned for fattening. All of these were used as food animals; dogs were additionally used for hunting. It is possible that deer were also penned and fattened.
Maya sites
There are hundreds of Maya sites spread across five countries: Belize, El Salvador, Guatemala, Honduras and Mexico.
The six sites with particularly outstanding architecture or sculpture are Chichen Itza, Palenque, Uxmal, and Yaxchilan in Mexico, Tikal in Guatemala and Copán in Honduras. Other important, but difficult to reach, sites include Calakmul and El Mirador. The principal sites in the Puuc region, after Uxmal, are Kabah, Labna, and Sayil. In the east of the Yucatán Peninsula are Coba and the small site of Tulum. The Río Bec sites of the base of the peninsula include Becan, Chicanná, Kohunlich, and Xpuhil. The most noteworthy sites in Chiapas, other than Palenque and Yaxchilan, are Bonampak and Toniná. In the Guatemalan Highlands are Iximche, Kaminaljuyu, Mixco Viejo, and Qʼumarkaj (also known as Utatlán). In the northern Petén lowlands of Guatemala there are many sites, though apart from Tikal access is generally difficult. Some of the Petén sites are Dos Pilas, Seibal, and Uaxactún. Important sites in Belize include Altun Ha, Caracol, and Xunantunich.
Museum collections
There are many museums across the world with Maya artefacts in their collections. The Foundation for the Advancement of Mesoamerican Studies lists over 250 museums in its Maya Museum database, and the European Association of Mayanists lists just under 50 museums in Europe alone.
See also
Entheogenics and the Maya
Huastec civilization
Index of Mexico-related articles
Songs of Dzitbalche
References
Bibliography
Alt URL
Full list from FAMSI archived from the original on 2015-06-08.
Further reading
External links
Foundation for the Advancement of Mesoamerican Studies, Inc. (FAMSI)
Primary sources of Maya history – part one by Ronald A. Barnett
Mesoweb by Joel Skidmore.
Maya Map – A map of the Maya civilization.
Former monarchies of North America
History of Guatemala
History of Belize
History of Chiapas
History of El Salvador
History of Honduras
2nd-millennium BC establishments
1697 disestablishments in North America
Former countries in North America
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[
"The Academia de Lenguas Mayas de Guatemala, or ALMG (may be translated into English as Guatemalan Academy of Mayan Languages) is a Guatemalan organisation that regulates the use of the 22 Mayan languages spoken within the borders of the republic. It has expended particular efforts on standardising the various writing systems used. Another of its functions is to promote Mayan culture, which it does by providing courses in the country's various Mayan languages and by training Spanish-Mayan interpreters.\n\nIt was founded on 16 November 1990 as an autonomous state organization, following publication of the Ley de la Academia de Lenguas Mayas de Guatemala, which had been passed by Congress the previous October.\n\nIt is headquartered in Guatemala City's Zone 10, in what was formerly the official residence of the Minister of Defence at the time of the Civil War, during which the government pursued a policy of genocide against the country's indigenous Maya population.\n\nOrthography\nThe ALMG have developed the most widely used orthographies for the Mayan languages. The Mayan languages in Mexico use different orthographies developed by INALI.\n\nFor the languages that make a distinction between palato-alveolar and retroflex affricates and fricatives (Mam, Ixil, Tektitek, Awakatek, Qʼanjobʼal, Poptiʼ, and Akatek in Guatemala, and Yucatec in Mexico) the ALMG suggests the following set of conventions.\n\nNotes\n\nReferences\nFrench, Brigittine. 2004. The politics and semiotics of sounds – Mayan linguistics and nation-building in Guatemala. Collegium Antropologicum 28, Supplement 1:249–255.\nFischer, E. F., & Brown, R. M. (Eds.). (2010). Maya cultural activism in Guatemala. University of Texas Press.\nRostica, J. C. (2007). Las organizaciones mayas de Guatemala y el diálogo intercultural. Política y cultura, (27), 75–97.\nEngland, N. C. (2003). Mayan language revival and revitalization politics: Linguists and linguistic ideologies. American anthropologist, 105(4), 733–743.\n\nThe original version of this article was translated, with adaptations, from the corresponding article on the Spanish-language Wikipedia.\n\nExternal links\nAcademia de Lenguas Mayas de Guatemala, official website\n\nCultural organizations based in Guatemala\nMayan languages\nLanguage regulators\nMesoamerican studies",
"Mayan most commonly refers to:\n Maya peoples, various indigenous peoples of Mesoamerica and northern Central America\n Maya civilization, pre-Columbian culture of Mesoamerica and northern Central America\n Mayan languages, language family spoken in Mesoamerica and northern Central America\n Yucatec Maya language, language spoken in the Yucatán Peninsula and northern Belize\n\nMayan may also refer to: \n Mayan, Semnan, Iran\n Mayan stage, geological period that occurred during the end of the Middle Cambrian\n Mayan (band), a Dutch symphonic death-metal band\n Mayan (software)\n\nSee also\n List of Mayan languages\n Maayan (disambiguation)\n Mayan Renaissance\n Mayan-e Olya, East Azerbaijan\n Mayan-e Olya, Razavi Khorasan\n Mayan-e Sofla, East Azerbaijan\n Mayan-e Sofla, Razavi Khorasan\n Mayan-e Vosta\n Mayian, the preparation ceremony one day before a Punjabi wedding\n\nLanguage and nationality disambiguation pages"
] |
[
"Maya civilization",
"Postclassic period (c. 950-1539 AD)",
"Were there any explorers in the Mayan region during this time?",
"I don't know.",
"What was a notable event during this time period?",
"The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America.",
"What were the origins of the Mayan culture?",
"By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies."
] |
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Which crops did they raise?
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Which crops did the Mayans raise?
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Maya civilization
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The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America. Mesoamerica was one of six cradles of civilization worldwide. The Mesoamerican area gave rise to a series of cultural developments that included complex societies, agriculture, cities, monumental architecture, writing, and calendrical systems. The set of traits shared by Mesoamerican cultures also included astronomical knowledge, blood and human sacrifice, and a cosmovision that viewed the world as divided into four divisions aligned with the cardinal directions, each with different attributes, and a three-way division of the world into the celestial realm, the earth, and the underworld. By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies. The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes. All Mesoamerican cultures used Stone Age technology; after c. 1000 AD copper, silver and gold were worked. Mesoamerica lacked draft animals, did not use the wheel, and possessed few domesticated animals; the principal means of transport was on foot or by canoe. Mesoamericans viewed the world as hostile and governed by unpredictable deities. The ritual Mesoamerican ballgame was widely played. Mesoamerica is linguistically diverse, with most languages falling within a small number of language families - the major families are Mayan, Mixe-Zoquean, Otomanguean, and Uto-Aztecan; there are also a number of smaller families and isolates. The Mesoamerican language area shares a number of important features, including widespread loanwords, and use of a vigesimal number system. The territory of the Maya covered a third of Mesoamerica, and the Maya were engaged in a dynamic relationship with neighbouring cultures that included the Olmecs, Mixtecs, Teotihuacan, the Aztecs, and others. During the Early Classic period, the Maya cities of Tikal and Kaminaljuyu were key Maya foci in a network that extended beyond the Maya area into the highlands of central Mexico. At around the same time, there was a strong Maya presence at the Tetitla compound of Teotihuacan. Centuries later, during the 9th century AD, murals at Cacaxtla, another site in the central Mexican highlands, were painted in a Maya style. This may have been either an effort to align itself with the still-powerful Maya area after the collapse of Teotihuacan and ensuing political fragmentation in the Mexican Highlands, or an attempt to express a distant Maya origin of the inhabitants. The Maya city of Chichen Itza and the distant Toltec capital of Tula had an especially close relationship. The Maya developed their first civilization in the Preclassic period. Scholars continue to discuss when this era of Maya civilization began. Maya occupation at Cuello (modern-day Belize) has been carbon dated to around 2600 BC. Settlements were established around 1800 BC in the Soconusco region of the Pacific coast, and the Maya were already cultivating the staple crops of maize, beans, squash, and chili pepper. This period was characterized by sedentary communities and the introduction of pottery and fired clay figurines. During the Middle Preclassic Period, small villages began to grow to form cities. Nakbe in the Peten department of Guatemala is the earliest well-documented city in the Maya lowlands, where large structures have been dated to around 750 BC. The northern lowlands of Yucatan were widely settled by the Middle Preclassic. By approximately 400 BC, early Maya rulers were raising stelae. A developed script was already being used in Peten by the 3rd century BC. In the Late Preclassic Period, the enormous city of El Mirador grew to cover approximately 16 square kilometres (6.2 sq mi). Although not as large, Tikal was already a significant city by around 350 BC. In the highlands, Kaminaljuyu emerged as a principal centre in the Late Preclassic. Takalik Abaj and Chocola were two of the most important cities on the Pacific coastal plain, and Komchen grew to become an important site in northern Yucatan. The Late Preclassic cultural florescence collapsed in the 1st century AD and many of the great Maya cities of the epoch were abandoned; the cause of this collapse is unknown. Although much reduced, a significant Maya presence remained into the Postclassic period after the abandonment of the major Classic period cities; the population was particularly concentrated near permanent water sources. Unlike during previous cycles of contraction in the Maya region, abandoned lands were not quickly resettled in the Postclassic. Activity shifted to the northern lowlands and the Maya Highlands; this may have involved migration from the southern lowlands, because many Postclassic Maya groups had migration myths. Chichen Itza and its Puuc neighbours declined dramatically in the 11th century, and this may represent the final episode of Classic Period collapse. After the decline of Chichen Itza, the Maya region lacked a dominant power until the rise of the city of Mayapan in the 12th century. New cities arose near the Caribbean and Gulf coasts, and new trade networks were formed. The Postclassic Period was marked by changes from the preceding Classic Period. The once-great city of Kaminaljuyu in the Valley of Guatemala was abandoned after continuous occupation of almost 2,000 years. Across the highlands and neighbouring Pacific coast, long-occupied cities in exposed locations were relocated, apparently due to a proliferation of warfare. Cities came to occupy more-easily defended hilltop locations surrounded by deep ravines, with ditch-and-wall defences sometimes supplementing the protection provided by the natural terrain. One of the most important cities in the Guatemalan Highlands at this time was Q'umarkaj, the capital of the aggressive K'iche' kingdom. The government of Maya states, from the Yucatan to the Guatemalan highlands, was often organized as joint rule by a council. However, in practice one member of the council could act as a supreme ruler, while the other members served him as advisors. Mayapan was abandoned around 1448, after a period of political, social and environmental turbulence that in many ways echoed the Classic period collapse in the southern Maya region. The abandonment of the city was followed by a period of prolonged warfare, disease and natural disasters in the Yucatan Peninsula, which ended only shortly before Spanish contact in 1511. Even without a dominant regional capital, the early Spanish explorers reported wealthy coastal cities and thriving marketplaces. During the Late Postclassic, the Yucatan Peninsula was divided into a number of independent provinces that shared a common culture but varied in internal sociopolitical organization. On the eve of the Spanish conquest, the highlands of Guatemala were dominated by several powerful Maya states. The K'iche' had carved out a small empire covering a large part of the western Guatemalan Highlands and the neighbouring Pacific coastal plain. However, in the decades before the Spanish invasion the Kaqchikel kingdom had been steadily eroding the kingdom of the K'iche'. CANNOTANSWER
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The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes.
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The Maya civilization () was a Mesoamerican civilization developed by the Maya peoples, and noted for its logosyllabic script—the most sophisticated and highly developed writing system in pre-Columbian Americas—as well as for its art, architecture, mathematics, calendar, and astronomical system. The Maya civilization developed in the area that today comprises southeastern Mexico, all of Guatemala and Belize, and the western portions of Honduras and El Salvador. It includes the northern lowlands of the Yucatán Peninsula and the highlands of the Sierra Madre, the Mexican state of Chiapas, southern Guatemala, El Salvador, and the southern lowlands of the Pacific littoral plain. "Maya" is a modern term used to refer collectively to the various peoples that inhabited this area. They did not call themselves "Maya" and did not have a sense of common identity or political unity. Today, their descendants, known collectively as the Maya, number well over 6 million individuals, speak more than twenty-eight surviving Mayan languages, and reside in nearly the same area as their ancestors.
The Archaic period, before 2000 BC, saw the first developments in agriculture and the earliest villages. The Preclassic period () saw the establishment of the first complex societies in the Maya region, and the cultivation of the staple crops of the Maya diet, including maize, beans, squashes, and chili peppers. The first Maya cities developed around 750 BC, and by 500 BC these cities possessed monumental architecture, including large temples with elaborate stucco façades. Hieroglyphic writing was being used in the Maya region by the 3rd century BC. In the Late Preclassic a number of large cities developed in the Petén Basin, and the city of Kaminaljuyu rose to prominence in the Guatemalan Highlands. Beginning around 250 AD, the Classic period is largely defined as when the Maya were raising sculpted monuments with Long Count dates. This period saw the Maya civilization develop many city-states linked by a complex trade network. In the Maya Lowlands two great rivals, the cities of Tikal and Calakmul, became powerful. The Classic period also saw the intrusive intervention of the central Mexican city of Teotihuacan in Maya dynastic politics. In the 9th century, there was a widespread political collapse in the central Maya region, resulting in internecine warfare, the abandonment of cities, and a northward shift of population. The Postclassic period saw the rise of Chichen Itza in the north, and the expansion of the aggressive Kʼicheʼ kingdom in the Guatemalan Highlands. In the 16th century, the Spanish Empire colonised the Mesoamerican region, and a lengthy series of campaigns saw the fall of Nojpetén, the last Maya city, in 1697.
Rule during the Classic period centred on the concept of the "divine king", who was thought to act as a mediator between mortals and the supernatural realm. Kingship was patrilineal, and power normally passed to the eldest son. A prospective king was expected to be a successful war leader as well as a ruler. Closed patronage systems were the dominant force in Maya politics, although how patronage affected the political makeup of a kingdom varied from city-state to city-state. By the Late Classic period, the aristocracy had grown in size, reducing the previously exclusive power of the king. The Maya developed sophisticated art forms using both perishable and non-perishable materials, including wood, jade, obsidian, ceramics, sculpted stone monuments, stucco, and finely painted murals.
Maya cities tended to expand organically. The city centers comprised ceremonial and administrative complexes, surrounded by an irregularly shaped sprawl of residential districts. Different parts of a city were often linked by causeways. Architecturally, city buildings included palaces, pyramid-temples, ceremonial ballcourts, and structures specially aligned for astronomical observation. The Maya elite were literate, and developed a complex system of hieroglyphic writing. Theirs was the most advanced writing system in the pre-Columbian Americas. The Maya recorded their history and ritual knowledge in screenfold books, of which only three uncontested examples remain, the rest having been destroyed by the Spanish. In addition, a great many examples of Maya texts can be found on stelae and ceramics. The Maya developed a highly complex series of interlocking ritual calendars, and employed mathematics that included one of the earliest known instances of the explicit zero in human history. As a part of their religion, the Maya practised human sacrifice.
Mesoamerica
The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America. Mesoamerica was one of six cradles of civilization worldwide. The Mesoamerican area gave rise to a series of cultural developments that included complex societies, agriculture, cities, monumental architecture, writing, and calendrical systems. The set of traits shared by Mesoamerican cultures also included astronomical knowledge, blood and human sacrifice, and a cosmovision that viewed the world as divided into four divisions aligned with the cardinal directions, each with different attributes, and a three-way division of the world into the celestial realm, the earth, and the underworld.
By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies. The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes. All Mesoamerican cultures used Stone Age technology; after c. 1000 AD copper, silver and gold were worked. Mesoamerica lacked draft animals, did not use the wheel, and possessed few domesticated animals; the principal means of transport was on foot or by canoe. Mesoamericans viewed the world as hostile and governed by unpredictable deities. The ritual Mesoamerican ballgame was widely played. Mesoamerica is linguistically diverse, with most languages falling within a small number of language families—the major families are Mayan, Mixe–Zoquean, Otomanguean, and Uto-Aztecan; there are also a number of smaller families and isolates. The Mesoamerican language area shares a number of important features, including widespread loanwords, and use of a vigesimal number system.
The territory of the Maya covered a third of Mesoamerica, and the Maya were engaged in a dynamic relationship with neighbouring cultures that included the Olmecs, Mixtecs, Teotihuacan, the Aztecs, and others. During the Early Classic period, the Maya cities of Tikal and Kaminaljuyu were key Maya foci in a network that extended beyond the Maya area into the highlands of central Mexico. At around the same time, there was a strong Maya presence at the Tetitla compound of Teotihuacan. Centuries later, during the 9th century AD, murals at Cacaxtla, another site in the central Mexican highlands, were painted in a Maya style. This may have been either an effort to align itself with the still-powerful Maya area after the collapse of Teotihuacan and ensuing political fragmentation in the Mexican Highlands, or an attempt to express a distant Maya origin of the inhabitants. The Maya city of Chichen Itza and the distant Toltec capital of Tula had an especially close relationship.
Geography
The Maya civilization occupied a wide territory that included southeastern Mexico and northern Central America. This area included the entire Yucatán Peninsula and all of the territory now incorporated into the modern countries of Guatemala and Belize, as well as the western portions of Honduras and El Salvador. Most of the peninsula is formed by a vast plain with few hills or mountains and a generally low coastline.
The Petén region consists of densely forested low-lying limestone plain; a chain of fourteen lakes runs across the central drainage basin of Petén. To the south the plain gradually rises towards the Guatemalan Highlands. Dense forest covers northern Petén and Belize, most of Quintana Roo, southern Campeche, and a portion of the south of Yucatán state. Farther north, the vegetation turns to lower forest consisting of dense scrub.
The littoral zone of Soconusco lies to the south of the Sierra Madre de Chiapas, and consists of a narrow coastal plain and the foothills of the Sierra Madre. The Maya highlands extend eastwards from Chiapas into Guatemala, reaching their highest in the Sierra de los Cuchumatanes. The major pre-Columbian population centres of the highlands were located in the largest highland valleys, such as the Valley of Guatemala and the Quetzaltenango Valley. In the southern highlands, a belt of volcanic cones runs parallel to the Pacific coast. The highlands extend northwards into Verapaz, and gradually descend to the east.
History
The history of Maya civilization is divided into three principal periods: the Preclassic, Classic, and Postclassic periods. These were preceded by the Archaic Period, during which the first settled villages and early developments in agriculture emerged. Modern scholars regard these periods as arbitrary divisions of Maya chronology, rather than indicative of cultural evolution or decline. Definitions of the start and end dates of period spans can vary by as much as a century, depending on the author.
Preclassic period (c. 2000 BC – 250 AD)
The Maya developed their first civilization in the Preclassic period. Scholars continue to discuss when this era of Maya civilization began. Maya occupation at Cuello (modern-day Belize) has been carbon dated to around 2600 BC. Settlements were established around 1800 BC in the Soconusco region of the Pacific coast, and the Maya were already cultivating the staple crops of maize, beans, squash, and chili pepper. This period was characterised by sedentary communities and the introduction of pottery and fired clay figurines.
During the Middle Preclassic Period, small villages began to grow to form cities. Nakbe in the Petén department of Guatemala is the earliest well-documented city in the Maya lowlands, where large structures have been dated to around 750 BC. The northern lowlands of Yucatán were widely settled by the Middle Preclassic. By approximately 400 BC, early Maya rulers were raising stelae. A developed script was already being used in Petén by the 3rd century BC. In the Late Preclassic Period, the enormous city of El Mirador grew to cover approximately . Although not as large, Tikal was already a significant city by around 350 BC.
In the highlands, Kaminaljuyu emerged as a principal centre in the Late Preclassic. Takalik Abaj and Chocolá were two of the most important cities on the Pacific coastal plain, and Komchen grew to become an important site in northern Yucatán. The Late Preclassic cultural florescence collapsed in the 1st century AD and many of the great Maya cities of the epoch were abandoned; the cause of this collapse is unknown.
Classic period (c. 250–900 AD)
The Classic period is largely defined as the period during which the lowland Maya raised dated monuments using the Long Count calendar. This period marked the peak of large-scale construction and urbanism, the recording of monumental inscriptions, and demonstrated significant intellectual and artistic development, particularly in the southern lowland regions. The Classic period Maya political landscape has been likened to that of Renaissance Italy or Classical Greece, with multiple city-states engaged in a complex network of alliances and enmities. The largest cities had populations numbering 50,000 to 120,000 and were linked to networks of subsidiary sites.
During the Early Classic, cities throughout the Maya region were influenced by the great metropolis of Teotihuacan in the distant Valley of Mexico. In AD 378, Teotihuacan decisively intervened at Tikal and other nearby cities, deposed their rulers, and installed a new Teotihuacan-backed dynasty. This intervention was led by Siyaj Kʼakʼ ("Born of Fire"), who arrived at Tikal in early 378. The king of Tikal, Chak Tok Ichʼaak I, died on the same day, suggesting a violent takeover. A year later, Siyaj Kʼakʼ oversaw the installation of a new king, Yax Nuun Ahiin I. The installation of the new dynasty led to a period of political dominance when Tikal became the most powerful city in the central lowlands.
Tikal's great rival was Calakmul, another powerful city in the Petén Basin. Tikal and Calakmul both developed extensive systems of allies and vassals; lesser cities that entered one of these networks gained prestige from their association with the top-tier city, and maintained peaceful relations with other members of the same network. Tikal and Calakmul engaged in the manoeuvering of their alliance networks against each other. At various points during the Classic period, one or other of these powers would gain a strategic victory over its great rival, resulting in respective periods of florescence and decline.
In 629, Bʼalaj Chan Kʼawiil, a son of the Tikal king Kʼinich Muwaan Jol II, was sent to found a new city at Dos Pilas, in the Petexbatún region, apparently as an outpost to extend Tikal's power beyond the reach of Calakmul. For the next two decades he fought loyally for his brother and overlord at Tikal. In 648, king Yuknoom Chʼeen II of Calakmul captured Balaj Chan Kʼawiil. Yuknoom Chʼeen II then reinstated Balaj Chan Kʼawiil upon the throne of Dos Pilas as his vassal. He thereafter served as a loyal ally of Calakmul.
In the southeast, Copán was the most important city. Its Classic-period dynasty was founded in 426 by Kʼinich Yax Kʼukʼ Moʼ. The new king had strong ties with central Petén and Teotihuacan. Copán reached the height of its cultural and artistic development during the rule of Uaxaclajuun Ubʼaah Kʼawiil, who ruled from 695 to 738. His reign ended catastrophically when he was captured by his vassal, king Kʼakʼ Tiliw Chan Yopaat of Quiriguá. The captured lord of Copán was taken back to Quiriguá and was decapitated in a public ritual. It is likely that this coup was backed by Calakmul, in order to weaken a powerful ally of Tikal. Palenque and Yaxchilan were the most powerful cities in the Usumacinta region. In the highlands, Kaminaljuyu in the Valley of Guatemala was already a sprawling city by 300. In the north of the Maya area, Coba was the most important capital.
Classic Maya collapse
During the 9th century AD, the central Maya region suffered major political collapse, marked by the abandonment of cities, the ending of dynasties, and a northward shift in activity. No universally accepted theory explains this collapse, but it likely had a combination of causes, including endemic internecine warfare, overpopulation resulting in severe environmental degradation, and drought. During this period, known as the Terminal Classic, the northern cities of Chichen Itza and Uxmal showed increased activity. Major cities in the northern Yucatán Peninsula continued to be inhabited long after the cities of the southern lowlands ceased to raise monuments.
Classic Maya social organization was based on the ritual authority of the ruler, rather than central control of trade and food distribution. This model of rulership was poorly structured to respond to changes, because the ruler's actions were limited by tradition to such activities as construction, ritual, and warfare. This only served to exacerbate systemic problems. By the 9th and 10th centuries, this resulted in collapse of this system of rulership. In the northern Yucatán, individual rule was replaced by a ruling council formed from elite lineages. In the southern Yucatán and central Petén, kingdoms declined; in western Petén and some other areas, the changes were catastrophic and resulted in the rapid depopulation of cities. Within a couple of generations, large swathes of the central Maya area were all but abandoned. Both the capitals and their secondary centres were generally abandoned within a period of 50 to 100 years. One by one, cities stopped sculpting dated monuments; the last Long Count date was inscribed at Toniná in 909. Stelae were no longer raised, and squatters moved into abandoned royal palaces. Mesoamerican trade routes shifted and bypassed Petén.
Postclassic period (c. 950–1539 AD)
Although much reduced, a significant Maya presence remained into the Postclassic period after the abandonment of the major Classic period cities; the population was particularly concentrated near permanent water sources. Unlike during previous cycles of contraction in the Maya region, abandoned lands were not quickly resettled in the Postclassic. Activity shifted to the northern lowlands and the Maya Highlands; this may have involved migration from the southern lowlands, because many Postclassic Maya groups had migration myths. Chichen Itza and its Puuc neighbours declined dramatically in the 11th century, and this may represent the final episode of Classic Period collapse. After the decline of Chichen Itza, the Maya region lacked a dominant power until the rise of the city of Mayapan in the 12th century. New cities arose near the Caribbean and Gulf coasts, and new trade networks were formed.
The Postclassic Period was marked by changes from the preceding Classic Period. The once-great city of Kaminaljuyu in the Valley of Guatemala was abandoned after continuous occupation of almost 2,000 years. Across the highlands and neighbouring Pacific coast, long-occupied cities in exposed locations were relocated, apparently due to a proliferation of warfare. Cities came to occupy more-easily defended hilltop locations surrounded by deep ravines, with ditch-and-wall defences sometimes supplementing the protection provided by the natural terrain. One of the most important cities in the Guatemalan Highlands at this time was Qʼumarkaj, the capital of the aggressive Kʼicheʼ kingdom. The government of Maya states, from the Yucatán to the Guatemalan highlands, was often organised as joint rule by a council. However, in practice one member of the council could act as a supreme ruler, while the other members served him as advisors.
Mayapan was abandoned around 1448, after a period of political, social and environmental turbulence that in many ways echoed the Classic period collapse in the southern Maya region. The abandonment of the city was followed by a period of prolonged warfare, disease and natural disasters in the Yucatán Peninsula, which ended only shortly before Spanish contact in 1511. Even without a dominant regional capital, the early Spanish explorers reported wealthy coastal cities and thriving marketplaces. During the Late Postclassic, the Yucatán Peninsula was divided into a number of independent provinces that shared a common culture but varied in internal sociopolitical organization. On the eve of the Spanish conquest, the highlands of Guatemala were dominated by several powerful Maya states. The Kʼicheʼ had carved out a small empire covering a large part of the western Guatemalan Highlands and the neighbouring Pacific coastal plain. However, in the decades before the Spanish invasion the Kaqchikel kingdom had been steadily eroding the kingdom of the Kʼicheʼ.
Contact period and Spanish conquest (1511–1697 AD)
In 1511, a Spanish caravel was wrecked in the Caribbean, and about a dozen survivors made landfall on the coast of Yucatán. They were seized by a Maya lord, and most were sacrificed, although two managed to escape. From 1517 to 1519, three separate Spanish expeditions explored the Yucatán coast, and engaged in a number of battles with the Maya inhabitants. After the Aztec capital Tenochtitlan fell to the Spanish in 1521, Hernán Cortés despatched Pedro de Alvarado to Guatemala with 180 cavalry, 300 infantry, 4 cannons, and thousands of allied warriors from central Mexico; they arrived in Soconusco in 1523. The Kʼicheʼ capital, Qʼumarkaj, fell to Alvarado in 1524. Shortly afterwards, the Spanish were invited as allies into Iximche, the capital city of the Kaqchikel Maya. Good relations did not last, due to excessive Spanish demands for gold as tribute, and the city was abandoned a few months later. This was followed by the fall of Zaculeu, the Mam Maya capital, in 1525. Francisco de Montejo and his son, Francisco de Montejo the Younger, launched a long series of campaigns against the polities of the Yucatán Peninsula in 1527, and finally completed the conquest of the northern portion of the peninsula in 1546. This left only the Maya kingdoms of the Petén Basin independent. In 1697, Martín de Ursúa launched an assault on the Itza capital Nojpetén and the last independent Maya city fell to the Spanish.
Persistence of Maya culture
The Spanish conquest stripped away most of the defining features of Maya civilization. However, many Maya villages remained remote from Spanish colonial authority, and for the most part continued to manage their own affairs. Maya communities and the nuclear family maintained their traditional day-to-day life. The basic Mesoamerican diet of maize and beans continued, although agricultural output was improved by the introduction of steel tools. Traditional crafts such as weaving, ceramics, and basketry continued to be practised. Community markets and trade in local products continued long after the conquest. At times, the colonial administration encouraged the traditional economy in order to extract tribute in the form of ceramics or cotton textiles, although these were usually made to European specifications. Maya beliefs and language proved resistant to change, despite vigorous efforts by Catholic missionaries. The 260-day tzolkʼin ritual calendar continues in use in modern Maya communities in the highlands of Guatemala and Chiapas, and millions of Mayan-language speakers inhabit the territory in which their ancestors developed their civilization.
Investigation of Maya civilization
The agents of the Catholic Church wrote detailed accounts of the Maya, in support of their efforts at Christianization, and absorption of the Maya into the Spanish Empire. This was followed by various Spanish priests and colonial officials who left descriptions of ruins they visited in Yucatán and Central America. In 1839, American traveller and writer John Lloyd Stephens set out to visit a number of Maya sites with English architect and draftsman Frederick Catherwood. Their illustrated accounts of the ruins sparked strong popular interest, and brought the Maya to the attention of the world. The later 19th century saw the recording and recovery of ethnohistoric accounts of the Maya, and the first steps in deciphering Maya hieroglyphs.
The final two decades of the 19th century saw the birth of modern scientific archaeology in the Maya region, with the meticulous work of Alfred Maudslay and Teoberto Maler. By the early 20th century, the Peabody Museum was sponsoring excavations at Copán and in the Yucatán Peninsula. In the first two decades of the 20th century, advances were made in deciphering the Maya calendar, and identifying deities, dates, and religious concepts. Since the 1930s, archaeological exploration increased dramatically, with large-scale excavations across the Maya region.
In the 1960s, the distinguished Mayanist J. Eric S. Thompson promoted the ideas that Maya cities were essentially vacant ceremonial centres serving a dispersed population in the forest, and that the Maya civilization was governed by peaceful astronomer-priests. These ideas began to collapse with major advances in the decipherment of the script in the late 20th century, pioneered by Heinrich Berlin, Tatiana Proskouriakoff, and Yuri Knorozov. With breakthroughs in understanding of Maya script since the 1950s, the texts revealed the warlike activities of the Classic Maya kings, and the view of the Maya as peaceful could no longer be supported.
Politics
Unlike the Aztecs and the Inca, the Maya political system never integrated the entire Maya cultural area into a single state or empire. Rather, throughout its history, the Maya area contained a varying mix of political complexity that included both states and chiefdoms. These polities fluctuated greatly in their relationships with each other and were engaged in a complex web of rivalries, periods of dominance or submission, vassalage, and alliances. At times, different polities achieved regional dominance, such as Calakmul, Caracol, Mayapan, and Tikal. The first reliably evidenced polities formed in the Maya lowlands in the 9th century BC.
During the Late Preclassic, the Maya political system coalesced into a theopolitical form, where elite ideology justified the ruler's authority, and was reinforced by public display, ritual, and religion. The divine king was the centre of political power, exercising ultimate control over the administrative, economic, judicial, and military functions of the polity. The divine authority invested within the ruler was such that the king was able to mobilize both the aristocracy and commoners in executing huge infrastructure projects, apparently with no police force or standing army. Some polities engaged in a strategy of increasing administration, and filling administrative posts with loyal supporters rather than blood relatives. Within a polity, mid-ranking population centres would have played a key role in managing resources and internal conflict.
The Maya political landscape was highly complex and Maya elites engaged in political intrigue to gain economic and social advantage over neighbours. In the Late Classic, some cities established a long period of dominance over other large cities, such as the dominance of Caracol over Naranjo for half a century. In other cases, loose alliance networks were formed around a dominant city. Border settlements, usually located about halfway between neighbouring capitals, often switched allegiance over the course of their history, and at times acted independently. Dominant capitals exacted tribute in the form of luxury items from subjugated population centres. Political power was reinforced by military power, and the capture and humiliation of enemy warriors played an important part in elite culture. An overriding sense of pride and honour among the warrior aristocracy could lead to extended feuds and vendettas, which caused political instability and the fragmentation of polities.
Society
From the Early Preclassic, Maya society was sharply divided between the elite and commoners. As population increased over time, various sectors of society became increasingly specialised, and political organization became increasingly complex. By the Late Classic, when populations had grown enormously and hundreds of cities were connected in a complex web of political hierarchies, the wealthy segment of society multiplied. A middle class may have developed that included artisans, low ranking priests and officials, merchants, and soldiers. Commoners included farmers, servants, labourers, and slaves. According to indigenous histories, land was held communally by noble houses or clans. Such clans held that the land was the property of the clan ancestors, and such ties between the land and the ancestors were reinforced by the burial of the dead within residential compounds.
King and court
Classic Maya rule was centred in a royal culture that was displayed in all areas of Classic Maya art. The king was the supreme ruler and held a semi-divine status that made him the mediator between the mortal realm and that of the gods. From very early times, kings were specifically identified with the young maize god, whose gift of maize was the basis of Mesoamerican civilization. Maya royal succession was patrilineal, and royal power only passed to queens when doing otherwise would result in the extinction of the dynasty. Typically, power was passed to the eldest son. A young prince was called a chʼok ("youth"), although this word later came to refer to nobility in general. The royal heir was called bʼaah chʼok ("head youth"). Various points in the young prince's childhood were marked by ritual; the most important was a bloodletting ceremony at age five or six years. Although being of the royal bloodline was of utmost importance, the heir also had to be a successful war leader, as demonstrated by taking of captives. The enthronement of a new king was a highly elaborate ceremony, involving a series of separate acts that included enthronement upon a jaguar-skin cushion, human sacrifice, and receiving the symbols of royal power, such as a headband bearing a jade representation of the so-called "jester god", an elaborate headdress adorned with quetzal feathers, and a sceptre representing the god Kʼawiil.
Maya political administration, based around the royal court, was not bureaucratic in nature. Government was hierarchical, and official posts were sponsored by higher-ranking members of the aristocracy; officials tended to be promoted to higher levels of office during the course of their lives. Officials are referred to as being "owned" by their sponsor, and this relationship continued even after the death of the sponsor. The Maya royal court was a vibrant and dynamic political institution. There was no universal structure for the Maya royal court, instead each polity formed a royal court that was suited to its own individual context. A number of royal and noble titles have been identified by epigraphers translating Classic Maya inscriptions. Ajaw is usually translated as "lord" or "king". In the Early Classic, an ajaw was the ruler of a city. Later, with increasing social complexity, the ajaw was a member of the ruling class and a major city could have more than one, each ruling over different districts. Paramount rulers distinguished themselves from the extended nobility by prefixing the word kʼuhul to their ajaw title. A kʼuhul ajaw was "divine lord", originally confined to the kings of the most prestigious and ancient royal lines. Kalomte was a royal title, whose exact meaning is not yet deciphered, but it was held only by the most powerful kings of the strongest dynasties. It indicated an overlord, or high king, and the title was only in use during the Classic period. By the Late Classic, the absolute power of the kʼuhul ajaw had weakened, and the political system had diversified to include a wider aristocracy, that by this time may well have expanded disproportionately.
A sajal was ranked below the ajaw, and indicated a subservient lord. A sajal would be lord of a second- or third-tier site, answering to an ajaw, who may himself have been subservient to a kalomte. A sajal would often be a war captain or regional governor, and inscriptions often link the sajal title to warfare; they are often mentioned as the holders of war captives. Sajal meant "feared one". The titles of ah tzʼihb and ah chʼul hun are both related to scribes. The ah tzʼihb was a royal scribe, usually a member of the royal family; the ah chʼul hun was the Keeper of the Holy Books, a title that is closely associated with the ajaw title, indicating that an ajaw always held the ah chʼul hun title simultaneously. Other courtly titles, the functions of which are not well understood, were yajaw kʼahk''' ("Lord of Fire"), tiʼhuun and ti'sakhuun. These last two may be variations on the same title, and Mark Zender has suggested that the holder of this title may have been the spokesman for the ruler. Courtly titles are overwhelmingly male-oriented, and in those relatively rare occasions where they are applied to a woman, they appear to be used as honorifics for female royalty. Titled elites were often associated with particular structures in the hieroglyphic inscriptions of Classic period cities, indicating that such office holders either owned that structure, or that the structure was an important focus for their activities. A lakam, or standard-bearer, was possibly the only non-elite post-holder in the royal court. The lakam was only found in larger sites, and they appear to have been responsible for the taxation of local districts.
Different factions may have existed in the royal court. The kʼuhul ahaw and his household would have formed the central power-base, but other important groups were the priesthood, the warrior aristocracy, and other aristocratic courtiers. Where ruling councils existed, as at Chichen Itza and Copán, these may have formed an additional faction. Rivalry between different factions would have led to dynamic political institutions as compromises and disagreements were played out. In such a setting, public performance was vital. Such performances included ritual dances, presentation of war captives, offerings of tribute, human sacrifice, and religious ritual.
Commoners
Commoners are estimated to have comprised over 90% of the population, but relatively little is known about them. Their houses were generally constructed from perishable materials, and their remains have left little trace in the archaeological record. Some commoner dwellings were raised on low platforms, and these can be identified, but an unknown quantity of commoner houses were not. Such low-status dwellings can only be detected by extensive remote-sensing surveys of apparently empty terrain. The range of commoners was broad; it consisted of everyone not of noble birth, and therefore included everyone from the poorest farmers to wealthy craftsmen and commoners appointed to bureaucratic positions. Commoners engaged in essential production activities, including that of products destined for use by the elite, such as cotton and cacao, as well as subsistence crops for their own use, and utilitarian items such as ceramics and stone tools. Commoners took part in warfare, and could advance socially by proving themselves as outstanding warriors. Commoners paid taxes to the elite in the form of staple goods such as maize, flour and game. It is likely that hard-working commoners who displayed exceptional skills and initiative could become influential members of Maya society.
Warfare
Warfare was prevalent in the Maya world. Military campaigns were launched for a variety of reasons, including the control of trade routes and tribute, raids to take captives, scaling up to the complete destruction of an enemy state. Little is known about Maya military organization, logistics, or training. Warfare is depicted in Maya art from the Classic period, and wars and victories are mentioned in hieroglyphic inscriptions. Unfortunately, the inscriptions do not provide information upon the causes of war, or the form it took. In the 8th–9th centuries, intensive warfare resulted in the collapse of the kingdoms of the Petexbatún region of western Petén. The rapid abandonment of Aguateca by its inhabitants has provided a rare opportunity to examine the remains of Maya weaponry in situ. Aguateca was stormed by unknown enemies around 810 AD, who overcame its formidable defences and burned the royal palace. The elite inhabitants of the city either fled or were captured, and never returned to collect their abandoned property. The inhabitants of the periphery abandoned the site soon after. This is an example of intensive warfare carried out by an enemy in order to eliminate a Maya state, rather than subjugate it. Research at Aguateca indicated that Classic period warriors were primarily members of the elite.
From as early as the Preclassic period, the ruler of a Maya polity was expected to be a distinguished war leader, and was depicted with trophy heads hanging from his belt. In the Classic period, such trophy heads no longer appeared on the king's belt, but Classic period kings are frequently depicted standing over humiliated war captives. Right up to the end of the Postclassic period, Maya kings led as war captains. Maya inscriptions from the Classic show that a defeated king could be captured, tortured, and sacrificed. The Spanish recorded that Maya leaders kept track of troop movements in painted books.
The outcome of a successful military campaign could vary in its impact on the defeated polity. In some cases, entire cities were sacked, and never resettled, as at Aguateca. In other instances, the victors would seize the defeated rulers, their families, and patron gods. The captured nobles and their families could be imprisoned, or sacrificed. At the least severe end of the scale, the defeated polity would be obliged to pay tribute to the victor.
Warriors
During the Contact period, it is known that certain military positions were held by members of the aristocracy, and were passed on by patrilineal succession. It is likely that the specialised knowledge inherent in the particular military role was taught to the successor, including strategy, ritual, and war dances. Maya armies of the Contact period were highly disciplined, and warriors participated in regular training exercises and drills; every able-bodied adult male was available for military service. Maya states did not maintain standing armies; warriors were mustered by local officials who reported back to appointed warleaders. There were also units of full-time mercenaries who followed permanent leaders. Most warriors were not full-time, however, and were primarily farmers; the needs of their crops usually came before warfare. Maya warfare was not so much aimed at destruction of the enemy as the seizure of captives and plunder.
There is some evidence from the Classic period that women provided supporting roles in war, but they did not act as military officers with the exception of those rare ruling queens. By the Postclassic, the native chronicles suggest that women occasionally fought in battle.
Weapons
The atlatl (spear-thrower) was introduced to the Maya region by Teotihuacan in the Early Classic. This was a stick with a notched end to hold a dart or javelin. The stick was used to launch the missile with more force and accuracy than could be accomplished by simply hurling it with the arm alone. Evidence in the form of stone blade points recovered from Aguateca indicate that darts and spears were the primary weapons of the Classic Maya warrior. Commoners used blowguns in war, which also served as their hunting weapon. The bow and arrow is another weapon that was used by the ancient Maya for both war and hunting. Although present in the Maya region during the Classic period, its use as a weapon of war was not favoured; it did not become a common weapon until the Postclassic. The Contact period Maya also used two-handed swords crafted from strong wood with the blade fashioned from inset obsidian, similar to the Aztec macuahuitl. Maya warriors wore body armour in the form of quilted cotton that had been soaked in salt water to toughen it; the resulting armour compared favourably to the steel armour worn by the Spanish when they conquered the region. Warriors bore wooden or animal hide shields decorated with feathers and animal skins.
Trade
Trade was a key component of Maya society, and in the development of the Maya civilization. The cities that grew to become the most important usually controlled access to vital trade goods, or portage routes. Cities such as Kaminaljuyu and Qʼumarkaj in the Guatemalan Highlands, and Chalchuapa in El Salvador, variously controlled access to the sources of obsidian at different points in Maya history. The Maya were major producers of cotton, which was used to make the textiles to be traded throughout Mesoamerica. The most important cities in the northern Yucatán Peninsula controlled access to the sources of salt. In the Postclassic, the Maya engaged in a flourishing slave trade with wider Mesoamerica.
The Maya engaged in long-distance trade across the Maya region, and across greater Mesoamerica and beyond. As an illustration, an Early Classic Maya merchant quarter has been identified at the distant metropolis of Teotihuacan, in central Mexico. Within Mesoamerica beyond the Maya area, trade routes particularly focused on central Mexico and the Gulf coast. In the Early Classic, Chichen Itza was at the hub of an extensive trade network that imported gold discs from Colombia and Panama, and turquoise from Los Cerrillos, New Mexico. Long-distance trade of both luxury and utilitarian goods was probably controlled by the royal family. Prestige goods obtained by trade were used both for consumption by the city's ruler, and as luxury gifts to consolidate the loyalty of vassals and allies.
Trade routes not only supplied physical goods, they facilitated the movement of people and ideas throughout Mesoamerica. Shifts in trade routes occurred with the rise and fall of important cities in the Maya region, and have been identified in every major reorganization of the Maya civilization, such as the rise of Preclassic Maya civilization, the transition to the Classic, and the Terminal Classic collapse. Even the Spanish Conquest did not immediately terminate all Maya trading activity; for example, the Contact period Manche Chʼol traded the prestige crops of cacao, annatto and vanilla into colonial Verapaz.
Merchants
Little is known of Maya merchants, although they are depicted on Maya ceramics in elaborate noble dress. From this, it is known that at least some traders were members of the elite. During the Contact period, it is known that Maya nobility took part in long-distance trading expeditions. The majority of traders were middle class, but were largely engaged in local and regional trade rather than the prestigious long-distance trading that was the preserve of the elite. The travelling of merchants into dangerous foreign territory was likened to a passage through the underworld; the patron deities of merchants were two underworld gods carrying backpacks. When merchants travelled, they painted themselves black, like their patron gods, and went heavily armed.
The Maya had no pack animals, so all trade goods were carried on the backs of porters when going overland; if the trade route followed a river or the coast, then goods were transported in canoes. A substantial Maya trading canoe was encountered off Honduras on Christopher Columbus's fourth voyage. It was made from a large hollowed-out tree trunk and had a palm-covered canopy. The canoe was broad and was powered by 25 rowers. Trade goods carried included cacao, obsidian, ceramics, textiles, food and drink for the crew, and copper bells and axes. Cacao was used as currency (although not exclusively), and its value was such that counterfeiting occurred by removing the flesh from the pod, and stuffing it with dirt or avocado rind.
Marketplaces
Marketplaces are difficult to identify archaeologically. However, the Spanish reported a thriving market economy when they arrived in the region. At some Classic period cities, archaeologists have tentatively identified formal arcade-style masonry architecture and parallel alignments of scattered stones as the permanent foundations of market stalls. A 2007 study analysed soils from a modern Guatemalan market and compared the results with those obtained from analysis at a proposed ancient market at Chunchucmil. Unusually high levels of zinc and phosphorus at both sites indicated similar food production and vegetable sales activity. The calculated density of market stalls at Chunchucmil strongly suggests that a thriving market economy already existed in the Early Classic. Archaeologists have tentatively identified marketplaces at an increasing number of Maya cities by means of a combination of archaeology and soil analysis. When the Spanish arrived, Postclassic cities in the highlands had markets in permanent plazas, with officials on hand to settle disputes, enforce rules, and collect taxes.
Art
Maya art is essentially the art of the royal court. It is almost exclusively concerned with the Maya elite and their world. Maya art was crafted from both perishable and non-perishable materials, and served to link the Maya to their ancestors. Although surviving Maya art represents only a small proportion of the art that the Maya created, it represents a wider variety of subjects than any other art tradition in the Americas. Maya art has many regional styles, and is unique in the ancient Americas in bearing narrative text. The finest surviving Maya art dates to the Late Classic period.
The Maya exhibited a preference for the colour green or blue-green, and used the same word for the colours blue and green. Correspondingly, they placed high value on apple-green jade, and other greenstones, associating them with the sun-god Kʼinich Ajau. They sculpted artefacts that included fine tesserae and beads, to carved heads weighing . The Maya nobility practised dental modification, and some lords wore encrusted jade in their teeth. Mosaic funerary masks could also be fashioned from jade, such as that of Kʼinich Janaabʼ Pakal, king of Palenque.
Maya stone sculpture emerged into the archaeological record as a fully developed tradition, suggesting that it may have evolved from a tradition of sculpting wood. Because of the biodegradability of wood, the corpus of Maya woodwork has almost entirely disappeared. The few wooden artefacts that have survived include three-dimensional sculptures, and hieroglyphic panels. Stone Maya stelae are widespread in city sites, often paired with low, circular stones referred to as altars in the literature. Stone sculpture also took other forms, such as the limestone relief panels at Palenque and Piedras Negras. At Yaxchilan, Dos Pilas, Copán, and other sites, stone stairways were decorated with sculpture. The hieroglyphic stairway at Copán comprises the longest surviving Maya hieroglyphic text, and consists of 2,200 individual glyphs.
The largest Maya sculptures consisted of architectural façades crafted from stucco. The rough form was laid out on a plain plaster base coating on the wall, and the three-dimensional form was built up using small stones. Finally, this was coated with stucco and moulded into the finished form; human body forms were first modelled in stucco, with their costumes added afterwards. The final stucco sculpture was then brightly painted. Giant stucco masks were used to adorn temple façades by the Late Preclassic, and such decoration continued into the Classic period.
The Maya had a long tradition of mural painting; rich polychrome murals have been excavated at San Bartolo, dating to between 300 and 200 BC. Walls were coated with plaster, and polychrome designs were painted onto the smooth finish. The majority of such murals have not survived, but Early Classic tombs painted in cream, red, and black have been excavated at Caracol, Río Azul, and Tikal. Among the best preserved murals are a full-size series of Late Classic paintings at Bonampak.
Flint, chert, and obsidian all served utilitarian purposes in Maya culture, but many pieces were finely crafted into forms that were never intended to be used as tools. Eccentric flints are among the finest lithic artefacts produced by the ancient Maya. They were technically very challenging to produce, requiring considerable skill on the part of the artisan. Large obsidian eccentrics can measure over in length. Their actual form varies considerably but they generally depict human, animal and geometric forms associated with Maya religion. Eccentric flints show a great variety of forms, such as crescents, crosses, snakes, and scorpions. The largest and most elaborate examples display multiple human heads, with minor heads sometimes branching off from larger one.
Maya textiles are very poorly represented in the archaeological record, although by comparison with other pre-Columbian cultures, such as the Aztecs and the Andean region, it is likely that they were high-value items. A few scraps of textile have been recovered by archaeologists, but the best evidence for textile art is where they are represented in other media, such as painted murals or ceramics. Such secondary representations show the elite of the Maya court adorned with sumptuous cloths, generally these would have been cotton, but jaguar pelts and deer hides are also shown.
Ceramics are the most commonly surviving type of Maya art. The Maya had no knowledge of the potter's wheel, and Maya vessels were built up by coiling rolled strips of clay into the desired form. Maya pottery was not glazed, although it often had a fine finish produced by burnishing. Maya ceramics were painted with clay slips blended with minerals and coloured clays. Ancient Maya firing techniques have yet to be replicated. A quantity of extremely fine ceramic figurines have been excavated from Late Classic tombs on Jaina Island, in northern Yucatán. They stand from high and were hand modelled, with exquisite detail. The Ik-style polychrome ceramic corpus, including finely painted plates and cylindrical vessels, originated in Late Classic Motul de San José. It includes a set of features such as hieroglyphs painted in a pink or pale red colour and scenes with dancers wearing masks. One of the most distinctive features is the realistic representation of subjects as they appeared in life. The subject matter of the vessels includes courtly life from the Petén region in the 8th century AD, such as diplomatic meetings, feasting, bloodletting, scenes of warriors and the sacrifice of prisoners of war.
Bone, both human and animal, was also sculpted; human bones may have been trophies, or relics of ancestors. The Maya valued Spondylus shells, and worked them to remove the white exterior and spines, to reveal the fine orange interior. Around the 10th century AD, metallurgy arrived in Mesoamerica from South America, and the Maya began to make small objects in gold, silver and copper. The Maya generally hammered sheet metal into objects such as beads, bells, and discs. In the last centuries before the Spanish Conquest, the Maya began to use the lost-wax method to cast small metal pieces.
One poorly studied area of Maya folk art is graffiti. Additional graffiti, not part of the planned decoration, was incised into the stucco of interior walls, floors, and benches, in a wide variety of buildings, including temples, residences, and storerooms. Graffiti has been recorded at 51 Maya sites, particularly clustered in the Petén Basin and southern Campeche, and the Chenes region of northwestern Yucatán. At Tikal, where a great quantity of graffiti has been recorded, the subject matter includes drawings of temples, people, deities, animals, banners, litters, and thrones. Graffiti was often inscribed haphazardly, with drawings overlapping each other, and display a mix of crude, untrained art, and examples by artists who were familiar with Classic-period artistic conventions.
Architecture
The Maya produced a vast array of structures, and have left an extensive architectural legacy. Maya architecture also incorporates various art forms and hieroglyphic texts. Masonry architecture built by the Maya evidences craft specialization in Maya society, centralised organization and the political means to mobilize a large workforce. It is estimated that a large elite residence at Copán required an estimated 10,686 man-days to build, which compares to 67-man-days for a commoner's hut. It is further estimated that 65% of the labour required to build the noble residence was used in the quarrying, transporting, and finishing of the stone used in construction, and 24% of the labour was required for the manufacture and application of limestone-based plaster. Altogether, it is estimated that two to three months were required for the construction of the residence for this single noble at Copán, using between 80 and 130 full-time labourers. A Classic-period city like Tikal was spread over , with an urban core covering . The labour required to build such a city was immense, running into many millions of man-days. The most massive structures ever erected by the Maya were built during the Preclassic period. Craft specialization would have required dedicated stonemasons and plasterers by the Late Preclassic, and would have required planners and architects.
Urban design
Maya cities were not formally planned, and were subject to irregular expansion, with the haphazard addition of palaces, temples and other buildings. Most Maya cities tended to grow outwards from the core, and upwards as new structures were superimposed upon preceding architecture. Maya cities usually had a ceremonial and administrative centre surrounded by a vast irregular sprawl of residential complexes. The centres of all Maya cities featured sacred precincts, sometimes separated from nearby residential areas by walls. These precincts contained pyramid temples and other monumental architecture dedicated to elite activities, such as basal platforms that supported administrative or elite residential complexes. Sculpted monuments were raised to record the deeds of the ruling dynasty. City centres also featured plazas, sacred ballcourts and buildings used for marketplaces and schools. Frequently causeways linked the centre to outlying areas of the city. Some of these classes of architecture formed lesser groups in the outlying areas of the city, which served as sacred centres for non-royal lineages. The areas adjacent to these sacred compounds included residential complexes housing wealthy lineages. The largest and richest of these elite compounds sometimes possessed sculpture and art of craftsmanship equal to that of royal art.
The ceremonial centre of the Maya city was where the ruling elite lived, and where the administrative functions of the city were performed, together with religious ceremonies. It was also where the inhabitants of the city gathered for public activities. Elite residential complexes occupied the best land around the city centre, while commoners had their residences dispersed further away from the ceremonial centre. Residential units were built on top of stone platforms to raise them above the level of the rain season floodwaters.
Building materials and methods
The Maya built their cities with Neolithic technology; they built their structures from both perishable materials and from stone. The exact type of stone used in masonry construction varied according to locally available resources, and this also affected the building style. Across a broad swathe of the Maya area, limestone was immediately available. The local limestone is relatively soft when freshly cut, but hardens with exposure. There was great variety in the quality of limestone, with good-quality stone available in the Usumacinta region; in the northern Yucatán, the limestone used in construction was of relatively poor quality. Volcanic tuff was used at Copán, and nearby Quiriguá employed sandstone. In Comalcalco, where suitable stone was not available locally, fired bricks were employed. Limestone was burned at high temperatures in order to manufacture cement, plaster, and stucco. Lime-based cement was used to seal stonework in place, and stone blocks were fashioned using rope-and-water abrasion, and with obsidian tools. The Maya did not employ a functional wheel, so all loads were transported on litters, barges, or rolled on logs. Heavy loads were lifted with rope, but probably without employing pulleys.
Wood was used for beams, and for lintels, even in masonry structures. Throughout Maya history, common huts and some temples continued to be built from wooden poles and thatch. Adobe was also applied; this consisted of mud strengthened with straw and was applied as a coating over the woven-stick walls of huts. Like wood and thatch, adobe was used throughout Maya history, even after the development of masonry structures. In the southern Maya area, adobe was employed in monumental architecture when no suitable stone was locally available.
Principal construction types
The great cities of the Maya civilization were composed of pyramid temples, palaces, ballcourts, sacbeob (causeways), patios and plazas. Some cities also possessed extensive hydraulic systems or defensive walls. The exteriors of most buildings were painted, either in one or multiple colours, or with imagery. Many buildings were adorned with sculpture or painted stucco reliefs.
Palaces and acropoleis
These complexes were usually located in the site core, beside a principal plaza. Maya palaces consisted of a platform supporting a multiroom range structure. The term acropolis, in a Maya context, refers to a complex of structures built upon platforms of varying height. Palaces and acropoleis were essentially elite residential compounds. They generally extended horizontally as opposed to the towering Maya pyramids, and often had restricted access. Some structures in Maya acropoleis supported roof combs. Rooms often had stone benches, used for sleeping, and holes indicate where curtains once hung. Large palaces, such as at Palenque, could be fitted with a water supply, and sweat baths were often found within the complex, or nearby. During the Early Classic, rulers were sometimes buried underneath the acropolis complex. Some rooms in palaces were true throne rooms; in the royal palace of Palenque there were a number of throne rooms that were used for important events, including the inauguration of new kings.
Palaces are usually arranged around one or more courtyards, with their façades facing inwards; some examples are adorned with sculpture. Some palaces possess associated hieroglyphic descriptions that identify them as the royal residences of named rulers. There is abundant evidence that palaces were far more than simple elite residences, and that a range of courtly activities took place in them, including audiences, formal receptions, and important rituals.
Pyramids and temples
Temples were sometimes referred to in hieroglyphic texts as kʼuh nah, meaning "god's house". Temples were raised on platforms, most often upon a pyramid. The earliest temples were probably thatched huts built upon low platforms. By the Late Preclassic period, their walls were of stone, and the development of the corbel arch allowed stone roofs to replace thatch. By the Classic period, temple roofs were being topped with roof combs that extended the height of the temple and served as a foundation for monumental art. The temple shrines contained between one and three rooms, and were dedicated to important deities. Such a deity might be one of the patron gods of the city, or a deified ancestor. In general, freestanding pyramids were shrines honouring powerful ancestors.
E-Groups and observatories
The Maya were keen observers of the sun, stars, and planets. E-Groups were a particular arrangement of temples that were relatively common in the Maya region; they take their names from Group E at Uaxactun. They consisted of three small structures facing a fourth structure, and were used to mark the solstices and equinoxes. The earliest examples date to the Preclassic period. The Lost World complex at Tikal started out as an E-Group built towards the end of the Middle Preclassic. Due to its nature, the basic layout of an E-Group was constant. A structure was built on the west side of a plaza; it was usually a radial pyramid with stairways facing the cardinal directions. It faced east across the plaza to three small temples on the far side. From the west pyramid, the sun was seen to rise over these temples on the solstices and equinoxes. E-Groups were raised across the central and southern Maya area for over a millennium; not all were properly aligned as observatories, and their function may have been symbolic.
As well as E-Groups, the Maya built other structures dedicated to observing the movements of celestial bodies. Many Maya buildings were aligned with astronomical bodies, including the planet Venus, and various constellations. The Caracol structure at Chichen Itza was a circular multi-level edifice, with a conical superstructure. It has slit windows that marked the movements of Venus. At Copán, a pair of stelae were raised to mark the position of the setting sun at the equinoxes.
Triadic pyramids
Triadic pyramids first appeared in the Preclassic. They consisted of a dominant structure flanked by two smaller inward-facing buildings, all mounted upon a single basal platform. The largest known triadic pyramid was built at El Mirador in the Petén Basin; it covers an area six times as large as that covered by Temple IV, the largest pyramid at Tikal. The three superstructures all have stairways leading up from the central plaza on top of the basal platform. No securely established forerunners of Triadic Groups are known, but they may have developed from the eastern range building of E-Group complexes. The triadic form was the predominant architectural form in the Petén region during the Late Preclassic. Examples of triadic pyramids are known from as many as 88 archaeological sites. At Nakbe, there are at least a dozen examples of triadic complexes and the four largest structures in the city are triadic in nature. At El Mirador there are probably as many as 36 triadic structures. Examples of the triadic form are even known from Dzibilchaltun in the far north of the Yucatán Peninsula, and Qʼumarkaj in the Highlands of Guatemala. The triadic pyramid remained a popular architectural form for centuries after the first examples were built; it continued in use into the Classic Period, with later examples being found at Uaxactun, Caracol, Seibal, Nakum, Tikal and Palenque. The Qʼumarkaj example is the only one that has been dated to the Postclassic Period. The triple-temple form of the triadic pyramid appears to be related to Maya mythology.
Ballcourts
The ballcourt is a distinctive pan-Mesoamerican form of architecture. Although the majority of Maya ballcourts date to the Classic period, the earliest examples appeared around 1000 BC in northwestern Yucatán, during the Middle Preclassic. By the time of Spanish contact, ballcourts were only in use in the Guatemalan Highlands, at cities such as Qʼumarkaj and Iximche. Throughout Maya history, ballcourts maintained a characteristic form consisting of an ɪ shape, with a central playing area terminating in two transverse end zones. The central playing area usually measures between long, and is flanked by two lateral structures that stood up to high. The lateral platforms often supported structures that may have held privileged spectators. The Great Ballcourt at Chichen Itza is the largest in Mesoamerica, measuring long by wide, with walls standing high.
Regional architectural styles
Although Maya cities shared many common features, there was considerable variation in architectural style. Such styles were influenced by locally available construction materials, climate, topography, and local preferences. In the Late Classic, these local differences developed into distinctive regional architectural styles.
Central Petén
The central Petén style of architecture is modelled after the great city of Tikal. The style is characterised by tall pyramids supporting a summit shrine adorned with a roof comb, and accessed by a single doorway. Additional features are the use of stela-altar pairings, and the decoration of architectural façades, lintels, and roof combs with relief sculptures of rulers and gods. One of the finest examples of Central Petén style architecture is Tikal Temple I. Examples of sites in the Central Petén style include Altun Ha, Calakmul, Holmul, Ixkun, Nakum, Naranjo, and Yaxhá.
Puuc
The exemplar of Puuc-style architecture is Uxmal. The style developed in the Puuc Hills of northwestern Yucatán; during the Terminal Classic it spread beyond this core region across the northern Yucatán Peninsula. Puuc sites replaced rubble cores with lime cement, resulting in stronger walls, and also strengthened their corbel arches; this allowed Puuc-style cities to build freestanding entrance archways. The upper façades of buildings were decorated with precut stones mosaic-fashion, erected as facing over the core, forming elaborate compositions of long-nosed deities such as the rain god Chaac and the Principal Bird Deity. The motifs also included geometric patterns, lattices and spools, possibly influenced by styles from highland Oaxaca, outside the Maya area. In contrast, the lower façades were left undecorated. Roof combs were relatively uncommon at Puuc sites.
Chenes
The Chenes style is very similar to the Puuc style, but predates the use of the mosaic façades of the Puuc region. It featured fully adorned façades on both the upper and lower sections of structures. Some doorways were surrounded by mosaic masks of monsters representing mountain or sky deities, identifying the doorways as entrances to the supernatural realm. Some buildings contained interior stairways that accessed different levels. The Chenes style is most commonly encountered in the southern portion of the Yucatán Peninsula, although individual buildings in the style can be found elsewhere in the peninsula. Examples of Chenes sites include Dzibilnocac, Hochob, Santa Rosa Xtampak, and Tabasqueño.
Río Bec
The Río Bec style forms a sub-region of the Chenes style, and also features elements of the Central Petén style, such as prominent roof combs. Its palaces are distinctive for their false-tower decorations, lacking interior rooms, with steep, almost vertical, stairways and false doors. These towers were adorned with deity masks, and were built to impress the viewer, rather than serve any practical function. Such false towers are only found in the Río Bec region. Río Bec sites include Chicanná, Hormiguero, and Xpuhil.
Usumacinta
The Usumacinta style developed in the hilly terrain of the Usumacinta drainage. Cities took advantage of the hillsides to support their major architecture, as at Palenque and Yaxchilan. Sites modified corbel vaulting to allow thinner walls and multiple access doors to temples. As in Petén, roof combs adorned principal structures. Palaces had multiple entrances that used post-and-lintel entrances rather than corbel vaulting. Many sites erected stelae, but Palenque instead developed finely sculpted panelling to decorate its buildings.
Language
Before 2000 BC, the Maya spoke a single language, dubbed proto-Mayan by linguists. Linguistic analysis of reconstructed Proto-Mayan vocabulary suggests that the original Proto-Mayan homeland was in the western or northern Guatemalan Highlands, although the evidence is not conclusive. Proto-Mayan diverged during the Preclassic period to form the major Mayan language groups that make up the family, including Huastecan, Greater Kʼicheʼan, Greater Qʼanjobalan, Mamean, Tzʼeltalan-Chʼolan, and Yucatecan. These groups diverged further during the pre-Columbian era to form over 30 languages that have survived into modern times. The language of almost all Classic Maya texts over the entire Maya area has been identified as Chʼolan; Late Preclassic text from Kaminaljuyu, in the highlands, also appears to be in, or related to, Chʼolan. The use of Chʼolan as the language of Maya text does not necessarily indicate that it was the language commonly used by the local populace – it may have been equivalent to Medieval Latin as a ritual or prestige language. Classic Chʼolan may have been the prestige language of the Classic Maya elite, used in inter-polity communication such as diplomacy and trade. By the Postclassic period, Yucatec was also being written in Maya codices alongside Chʼolan.
Writing and literacy
The Maya writing system is one of the outstanding achievements of the pre-Columbian inhabitants of the Americas. It was the most sophisticated and highly developed writing system of more than a dozen systems that developed in Mesoamerica. The earliest inscriptions in an identifiably Maya script date back to 300–200 BC, in the Petén Basin. However, this is preceded by several other Mesoamerican writing systems, such as the Epi-Olmec and Zapotec scripts. Early Maya script had appeared on the Pacific coast of Guatemala by the late 1st century AD, or early 2nd century. Similarities between the Isthmian script and Early Maya script of the Pacific coast suggest that the two systems developed in tandem. By about AD 250, the Maya script had become a more formalised and consistent writing system.
The Catholic Church and colonial officials, notably Bishop Diego de Landa, destroyed Maya texts wherever they found them, and with them the knowledge of Maya writing, but by chance three uncontested pre-Columbian books dated to the Postclassic period have been preserved. These are known as the Madrid Codex, the Dresden Codex and the Paris Codex. A few pages survive from a fourth, the Grolier Codex, whose authenticity is disputed. Archaeology conducted at Maya sites often reveals other fragments, rectangular lumps of plaster and paint chips which were codices; these tantalizing remains are, however, too severely damaged for any inscriptions to have survived, most of the organic material having decayed. In reference to the few extant Maya writings, Michael D. Coe stated:
Most surviving pre-Columbian Maya writing dates to the Classic period and is contained in stone inscriptions from Maya sites, such as stelae, or on ceramics vessels. Other media include the aforementioned codices, stucco façades, frescoes, wooden lintels, cave walls, and portable artefacts crafted from a variety of materials, including bone, shell, obsidian, and jade.
Writing system
The Maya writing system (often called hieroglyphs from a superficial resemblance to Ancient Egyptian writing) is a logosyllabic writing system, combining a syllabary of phonetic signs representing syllables with logogram representing entire words.Tanaka 2008, pp. 30, 53. Among the writing systems of the Pre-Columbian New World, Maya script most closely represents the spoken language. At any one time, no more than around 500 glyphs were in use, some 200 of which (including variations) were phonetic.
The Maya script was in use up to the arrival of the Europeans, its use peaking during the Classic Period. In excess of 10,000 individual texts have been recovered, mostly inscribed on stone monuments, lintels, stelae and ceramics. The Maya also produced texts painted on a form of paper manufactured from processed tree-bark generally now known by its Nahuatl-language name amatl used to produce codices.Tobin 2001. The skill and knowledge of Maya writing persisted among segments of the population right up to the Spanish conquest. The knowledge was subsequently lost, as a result of the impact of the conquest on Maya society.
The decipherment and recovery of the knowledge of Maya writing has been a long and laborious process. Some elements were first deciphered in the late 19th and early 20th century, mostly the parts having to do with numbers, the Maya calendar, and astronomy. Major breakthroughs were made from the 1950s to 1970s, and accelerated rapidly thereafter. By the end of the 20th century, scholars were able to read the majority of Maya texts, and ongoing work continues to further illuminate the content.Kettunen & Helmke 2014, p. 9.
Logosyllabic script
The basic unit of Maya logosyllabic text is the glyph block, which transcribes a word or phrase. The block is composed of one or more individual glyphs attached to each other to form the glyph block, with individual glyph blocks generally being separated by a space. Glyph blocks are usually arranged in a grid pattern. For ease of reference, epigraphers refer to glyph blocks from left to right alphabetically, and top to bottom numerically. Thus, any glyph block in a piece of text can be identified. C4 would be third block counting from the left, and the fourth block counting downwards. If a monument or artefact has more than one inscription, column labels are not repeated, rather they continue in the alphabetic series; if there are more than 26 columns, the labelling continues as A', B', etc. Numeric row labels restart from 1 for each discrete unit of text.
Although Mayan text may be laid out in varying manners, generally it is arranged into double columns of glyph blocks. The reading order of text starts at the top left (block A1), continues to the second block in the double-column (B1), then drops down a row and starts again from the left half of the double column (A2), and thus continues in zig-zag fashion. Once the bottom is reached, the inscription continues from the top left of the next double column. Where an inscription ends in a single (unpaired) column, this final column is usually read straight downwards.
Individual glyph blocks may be composed of a number of elements. These consist of the main sign, and any affixes. Main signs represent the major element of the block, and may be a noun, verb, adverb, adjective, or phonetic sign. Some main signs are abstract, some are pictures of the object they represent, and others are "head variants", personifications of the word they represent. Affixes are smaller rectangular elements, usually attached to a main sign, although a block may be composed entirely of affixes. Affixes may represent a wide variety of speech elements, including nouns, verbs, verbal suffixes, prepositions, pronouns, and more. Small sections of a main sign could be used to represent the whole main sign, and Maya scribes were highly inventive in their usage and adaptation of glyph elements.
Writing tools
Although the archaeological record does not provide examples of brushes or pens, analysis of ink strokes on the Postclassic codices suggests that it was applied with a brush with a tip fashioned from pliable hair. A Classic period sculpture from Copán, Honduras, depicts a scribe with an inkpot fashioned from a conch shell. Excavations at Aguateca uncovered a number of scribal artefacts from the residences of elite status scribes, including palettes and mortars and pestles.
Scribes and literacy
Commoners were illiterate; scribes were drawn from the elite. It is not known if all members of the aristocracy could read and write, although at least some women could, since there are representations of female scribes in Maya art. Maya scribes were called aj tzʼib, meaning "one who writes or paints". There were probably scribal schools where members of the aristocracy were taught to write. Scribal activity is identifiable in the archaeological record; Jasaw Chan Kʼawiil I, king of Tikal, was interred with his paint pot. Some junior members of the Copán royal dynasty have also been found buried with their writing implements. A palace at Copán has been identified as that of a noble lineage of scribes; it is decorated with sculpture that includes figures holding ink pots.
Although not much is known about Maya scribes, some did sign their work, both on ceramics and on stone sculpture. Usually, only a single scribe signed a ceramic vessel, but multiple sculptors are known to have recorded their names on stone sculpture; eight sculptors signed one stela at Piedras Negras. However, most works remained unsigned by their artists.
Mathematics
In common with the other Mesoamerican civilizations, the Maya used a base 20 (vigesimal) system. The bar-and-dot counting system that is the base of Maya numerals was in use in Mesoamerica by 1000 BC; the Maya adopted it by the Late Preclassic, and added the symbol for zero. This may have been the earliest known occurrence of the idea of an explicit zero worldwide, although it may have been predated by the Babylonian system. The earliest explicit use of zero occurred on monuments dated to 357 AD. In its earliest uses, the zero served as a place holder, indicating an absence of a particular calendrical count. This later developed into a numeral that was used to perform calculation, and was used in hieroglyphic texts for more than a thousand years, until the writing system was extinguished by the Spanish.
The basic number system consists of a dot to represent one, and a bar to represent five. By the Postclassic period a shell symbol represented zero; during the Classic period other glyphs were used. The Maya numerals from 0 to 19 used repetitions of these symbols. The value of a numeral was determined by its position; as a numeral shifted upwards, its basic value multiplied by twenty. In this way, the lowest symbol would represent units, the next symbol up would represent multiples of twenty, and the symbol above that would represent multiples of 400, and so on. For example, the number 884 would be written with four dots on the lowest level, four dots on the next level up, and two dots on the next level after that, to give 4×1 + 4×20 + 2×400 = 884. Using this system, the Maya were able to record huge numbers. Simple addition could be performed by summing the dots and bars in two columns to give the result in a third column.
Calendar
The Maya calendrical system, in common with other Mesoamerican calendars, had its origins in the Preclassic period. However, it was the Maya that developed the calendar to its maximum sophistication, recording lunar and solar cycles, eclipses and movements of planets with great accuracy. In some cases, the Maya calculations were more accurate than equivalent calculations in the Old World; for example, the Maya solar year was calculated to greater accuracy than the Julian year. The Maya calendar was intrinsically tied to Maya ritual, and it was central to Maya religious practices. The calendar combined a non-repeating Long Count with three interlocking cycles, each measuring a progressively larger period. These were the 260-day tzolkʼin, the 365-day haabʼ, and the 52-year Calendar Round, resulting from the combination of the tzolkʼin with the haab'. There were also additional calendric cycles, such as an 819-day cycle associated with the four quadrants of Maya cosmology, governed by four different aspects of the god Kʼawiil.
The basic unit in the Maya calendar was one day, or kʼin, and 20 kʼin grouped to form a winal. The next unit, instead of being multiplied by 20, as called for by the vigesimal system, was multiplied by 18 in order to provide a rough approximation of the solar year (hence producing 360 days). This 360-day year was called a tun. Each succeeding level of multiplication followed the vigesimal system.
The 260-day tzolkʼin provided the basic cycle of Maya ceremony, and the foundations of Maya prophecy. No astronomical basis for this count has been proved, and it may be that the 260-day count is based on the human gestation period. This is reinforced by the use of the tzolkʼin to record dates of birth, and provide corresponding prophecy. The 260-day cycle repeated a series of 20-day-names, with a number from 1 to 13 prefixed to indicated where in the cycle a particular day occurred.
The 365-day haab was produced by a cycle of eighteen named 20-day winals, completed by the addition of a 5-day period called the wayeb. The wayeb was considered to be a dangerous time, when the barriers between the mortal and supernatural realms were broken, allowing malignant deities to cross over and interfere in human concerns. In a similar way to the tzʼolkin, the named winal would be prefixed by a number (from 0 to 19), in the case of the shorter wayeb period, the prefix numbers ran 0 to 4. Since each day in the tzʼolkin had a name and number (e.g. 8 Ajaw), this would interlock with the haab, producing an additional number and name, to give any day a more complete designation, for example 8 Ajaw 13 Keh. Such a day name could only recur once every 52 years, and this period is referred to by Mayanists as the Calendar Round. In most Mesoamerican cultures, the Calendar Round was the largest unit for measuring time.
As with any non-repeating calendar, the Maya measured time from a fixed start point. The Maya set the beginning of their calendar as the end of a previous cycle of bakʼtuns, equivalent to a day in 3114 BC. This was believed by the Maya to be the day of the creation of the world in its current form. The Maya used the Long Count Calendar to fix any given day of the Calendar Round within their current great Piktun cycle consisting of either 20 bakʼtuns. There was some variation in the calendar, specifically texts in Palenque demonstrate that the piktun cycle that ended in 3114 BC had only 13 bakʼtuns, but others used a cycle of 13 + 20 bakʼtun in the current piktun. Additionally, there may have been some regional variation in how these exceptional cycles were managed.
A full long count date consisted of an introductory glyph followed by five glyphs counting off the number of bakʼtuns, katʼuns, tuns, winals, and kʼins since the start of the current creation. This would be followed by the tzʼolkin portion of the Calendar Round date, and after a number of intervening glyphs, the Long Count date would end with the Haab portion of the Calendar Round date.
Correlation of the Long Count calendar
Although the Calendar Round is still in use today, the Maya started using an abbreviated Short Count during the Late Classic period. The Short Count is a count of 13 kʼatuns. The Book of Chilam Balam of Chumayel contains the only colonial reference to classic long-count dates. The most generally accepted correlation is the Goodman-Martínez-Thompson, or GMT, correlation. This equates the Long Count date 11.16.0.0.0 13 Ajaw 8 Xul with the Gregorian date of 12 November 1539. Epigraphers Simon Martin and Nikolai Grube argue for a two-day shift from the standard GMT correlation. The Spinden Correlation would shift the Long Count dates back by 260 years; it also accords with the documentary evidence, and is better suited to the archaeology of the Yucatán Peninsula, but presents problems with the rest of the Maya region. The George Vaillant Correlation would shift all Maya dates 260 years later, and would greatly shorten the Postclassic period. Radiocarbon dating of dated wooden lintels at Tikal supports the GMT correlation.
Astronomy
The Maya made meticulous observations of celestial bodies, patiently recording astronomical data on the movements of the sun, moon, Venus, and the stars. This information was used for divination, so Maya astronomy was essentially for astrological purposes. Although Maya astronomy was mainly used by the priesthood to comprehend past cycles of time, and project them into the future to produce prophecy, it also had some practical applications, such as providing aid in crop planting and harvesting. The priesthood refined observations and recorded eclipses of the sun and moon, and movements of Venus and the stars; these were measured against dated events in the past, on the assumption that similar events would occur in the future when the same astronomical conditions prevailed. Illustrations in the codices show that priests made astronomical observations using the naked eye, assisted by crossed sticks as a sighting device. Analysis of the few remaining Postclassic codices has revealed that, at the time of European contact, the Maya had recorded eclipse tables, calendars, and astronomical knowledge that was more accurate at that time than comparable knowledge in Europe.
The Maya measured the 584-day Venus cycle with an error of just two hours. Five cycles of Venus equated to eight 365-day haab calendrical cycles, and this period was recorded in the codices. The Maya also followed the movements of Jupiter, Mars and Mercury. When Venus rose as the Morning Star, this was associated with the rebirth of the Maya Hero Twins. For the Maya, the heliacal rising of Venus was associated with destruction and upheaval. Venus was closely associated with warfare, and the hieroglyph meaning "war" incorporated the glyph-element symbolizing the planet. Sight-lines through the windows of the Caracol building at Chichen Itza align with the northernmost and southernmost extremes of Venus' path. Maya rulers launched military campaigns to coincide with the heliacal or cosmical rising of Venus, and would also sacrifice important captives to coincide with such conjunctions.
Solar and lunar eclipses were considered to be especially dangerous events that could bring catastrophe upon the world. In the Dresden Codex, a solar eclipse is represented by a serpent devouring the kʼin ("day") hieroglyph. Eclipses were interpreted as the sun or moon being bitten, and lunar tables were recorded in order that the Maya might be able to predict them, and perform the appropriate ceremonies to ward off disaster.
Religion and mythology
In common with the rest of Mesoamerica, the Maya believed in a supernatural realm inhabited by an array of powerful deities who needed to be placated with ceremonial offerings and ritual practices. At the core of Maya religious practice was the worship of deceased ancestors, who would intercede for their living descendants in dealings with the supernatural realm. The earliest intermediaries between humans and the supernatural were shamans. Maya ritual included the use of hallucinogens for chilan, oracular priests. Visions for the chilan were likely facilitated by consumption of water lilies, which are hallucinogenic in high doses. As the Maya civilization developed, the ruling elite codified the Maya world view into religious cults that justified their right to rule. In the Late Preclassic, this process culminated in the institution of the divine king, the kʼuhul ajaw, endowed with ultimate political and religious power.
The Maya viewed the cosmos as highly structured. There were thirteen levels in the heavens and nine in the underworld, with the mortal world in between. Each level had four cardinal directions associated with a different colour; north was white, east was red, south was yellow, and west was black. Major deities had aspects associated with these directions and colours.
Maya households interred their dead underneath the floors, with offerings appropriate to the social status of the family. There the dead could act as protective ancestors. Maya lineages were patrilineal, so the worship of a prominent male ancestor would be emphasised, often with a household shrine. As Maya society developed, and the elite became more powerful, Maya royalty developed their household shrines into the great pyramids that held the tombs of their ancestors.
Belief in supernatural forces pervaded Maya life and influenced every aspect of it, from the simplest day-to-day activities such as food preparation, to trade, politics, and elite activities. Maya deities governed all aspects of the world, both visible and invisible. The Maya priesthood was a closed group, drawing its members from the established elite; by the Early Classic they were recording increasingly complex ritual information in their hieroglyphic books, including astronomical observations, calendrical cycles, history and mythology. The priests performed public ceremonies that incorporated feasting, bloodletting, incense burning, music, ritual dance, and, on certain occasions, human sacrifice. During the Classic period, the Maya ruler was the high priest, and the direct conduit between mortals and the gods. It is highly likely that, among commoners, shamanism continued in parallel to state religion. By the Postclassic, religious emphasis had changed; there was an increase in worship of the images of deities, and more frequent recourse to human sacrifice.
Archaeologists painstakingly reconstruct these ritual practices and beliefs using several techniques. One important, though incomplete, resource is physical evidence, such as dedicatory caches and other ritual deposits, shrines, and burials with their associated funerary offerings. Maya art, architecture, and writing are another resource, and these can be combined with ethnographic sources, including records of Maya religious practices made by the Spanish during the conquest.
Human sacrifice
Blood was viewed as a potent source of nourishment for the Maya deities, and the sacrifice of a living creature was a powerful blood offering. By extension, the sacrifice of a human life was the ultimate offering of blood to the gods, and the most important Maya rituals culminated in human sacrifice. Generally only high status prisoners of war were sacrificed, with lower status captives being used for labour.
Important rituals such as the dedication of major building projects or the enthronement of a new ruler required a human offering. The sacrifice of an enemy king was the most prized, and such a sacrifice involved decapitation of the captive ruler, perhaps in a ritual reenactment of the decapitation of the Maya maize god by the death gods. In AD 738, the vassal king Kʼakʼ Tiliw Chan Yopaat of Quiriguá captured his overlord, Uaxaclajuun Ubʼaah Kʼawiil of Copán and a few days later ritually decapitated him. Sacrifice by decapitation is depicted in Classic period Maya art, and sometimes took place after the victim was tortured, being variously beaten, scalped, burnt or disembowelled. Another myth associated with decapitation was that of the Hero Twins recounted in the Popol Vuh: playing a ballgame against the gods of the underworld, the heroes achieved victory, but one of each pair of twins was decapitated by their opponents.
During the Postclassic period, the most common form of human sacrifice was heart extraction, influenced by the rites of the Aztecs in the Valley of Mexico; this usually took place in the courtyard of a temple, or upon the summit of the pyramid. In one ritual, the corpse would be skinned by assistant priests, except for the hands and feet, and the officiating priest would then dress himself in the skin of the sacrificial victim and perform a ritual dance symbolizing the rebirth of life. Archaeological investigations indicate that heart sacrifice was practised as early as the Classic period.
Deities
The Maya world was populated by a great variety of deities, supernatural entities and sacred forces. The Maya had such a broad interpretation of the sacred that identifying distinct deities with specific functions is inaccurate. The Maya interpretation of deities was closely tied to the calendar, astronomy, and their cosmology. The importance of a deity, its characteristics, and its associations varied according to the movement of celestial bodies. The priestly interpretation of astronomical records and books was therefore crucial, since the priest would understand which deity required ritual propitiation, when the correct ceremonies should be performed, and what would be an appropriate offering. Each deity had four manifestations, associated with the cardinal directions, each identified with a different colour. They also had a dual day-night/life-death aspect.
Itzamna was the creator god, but he also embodied the cosmos, and was simultaneously a sun god; Kʼinich Ahau, the day sun, was one of his aspects. Maya kings frequently identified themselves with Kʼinich Ahau. Itzamna also had a night sun aspect, the Night Jaguar, representing the sun in its journey through the underworld. The four Pawatuns supported the corners of the mortal realm; in the heavens, the Bacabs performed the same function. As well as their four main aspects, the Bakabs had dozens of other aspects that are not well understood. The four Chaacs were storm gods, controlling thunder, lightning, and the rains. The nine lords of the night each governed one of the underworld realms. Other important deities included the moon goddess, the maize god, and the Hero Twins.
The Popol Vuh was written in the Latin script in early colonial times, and was probably transcribed from a hieroglyphic book by an unknown Kʼicheʼ Maya nobleman. It is one of the most outstanding works of indigenous literature in the Americas. The Popul Vuh recounts the mythical creation of the world, the legend of the Hero Twins, and the history of the Postclassic Kʼicheʼ kingdom. Deities recorded in the Popul Vuh include Hun Hunahpu, believed by some to be the Kʼicheʼ maize god, and a triad of deities led by the Kʼicheʼ patron Tohil, and also including the moon goddess Awilix, and the mountain god Jacawitz.
In common with other Mesoamerican cultures, the Maya worshipped feathered serpent deities. Such worship was rare during the Classic period, but by the Postclassic the feathered serpent had spread to both the Yucatán Peninsula and the Guatemalan Highlands. In Yucatán, the feathered serpent deity was Kukulkan, among the Kʼicheʼ it was Qʼuqʼumatz. Kukulkan had his origins in the Classic period War Serpent, Waxaklahun Ubah Kan'', and has also been identified as the Postclassic version of the Vision Serpent of Classic Maya art. Although the cult of Kukulkan had its origins in these earlier Maya traditions, the worship of Kukulkan was heavily influenced by the Quetzalcoatl cult of central Mexico. Likewise, Qʼuqʼumatz had a composite origin, combining the attributes of Mexican Quetzalcoatl with aspects of the Classic period Itzamna.
Agriculture
The ancient Maya had diverse and sophisticated methods of food production. It was believed that shifting cultivation (swidden) agriculture provided most of their food, but it is now thought that permanent raised fields, terracing, intensive gardening, forest gardens, and managed fallows were also crucial to supporting the large populations of the Classic period in some areas. Indeed, evidence of these different agricultural systems persist today: raised fields connected by canals can be seen on aerial photographs. Contemporary rainforest species composition has significantly higher abundance of species of economic value to ancient Maya in areas that were densely populated in pre-Columbian times, and pollen records in lake sediments suggest that maize, manioc, sunflower seeds, cotton, and other crops have been cultivated in association with deforestation in Mesoamerica since at least 2500 BC.
The basic staples of the Maya diet were maize, beans, and squashes. These were supplemented with a wide variety of other plants either cultivated in gardens or gathered in the forest. At Joya de Cerén, a volcanic eruption preserved a record of foodstuffs stored in Maya homes, among them were chilies and tomatoes. Cotton seeds were in the process of being ground, perhaps to produce cooking oil. In addition to basic foodstuffs, the Maya also cultivated prestige crops such as cotton, cacao and vanilla. Cacao was especially prized by the elite, who consumed chocolate beverages. Cotton was spun, dyed, and woven into valuable textiles in order to be traded.
The Maya had few domestic animals; dogs were domesticated by 3000 BC, and the Muscovy duck by the Late Postclassic. Ocellated turkeys were unsuitable for domestication, but were rounded up in the wild and penned for fattening. All of these were used as food animals; dogs were additionally used for hunting. It is possible that deer were also penned and fattened.
Maya sites
There are hundreds of Maya sites spread across five countries: Belize, El Salvador, Guatemala, Honduras and Mexico.
The six sites with particularly outstanding architecture or sculpture are Chichen Itza, Palenque, Uxmal, and Yaxchilan in Mexico, Tikal in Guatemala and Copán in Honduras. Other important, but difficult to reach, sites include Calakmul and El Mirador. The principal sites in the Puuc region, after Uxmal, are Kabah, Labna, and Sayil. In the east of the Yucatán Peninsula are Coba and the small site of Tulum. The Río Bec sites of the base of the peninsula include Becan, Chicanná, Kohunlich, and Xpuhil. The most noteworthy sites in Chiapas, other than Palenque and Yaxchilan, are Bonampak and Toniná. In the Guatemalan Highlands are Iximche, Kaminaljuyu, Mixco Viejo, and Qʼumarkaj (also known as Utatlán). In the northern Petén lowlands of Guatemala there are many sites, though apart from Tikal access is generally difficult. Some of the Petén sites are Dos Pilas, Seibal, and Uaxactún. Important sites in Belize include Altun Ha, Caracol, and Xunantunich.
Museum collections
There are many museums across the world with Maya artefacts in their collections. The Foundation for the Advancement of Mesoamerican Studies lists over 250 museums in its Maya Museum database, and the European Association of Mayanists lists just under 50 museums in Europe alone.
See also
Entheogenics and the Maya
Huastec civilization
Index of Mexico-related articles
Songs of Dzitbalche
References
Bibliography
Alt URL
Full list from FAMSI archived from the original on 2015-06-08.
Further reading
External links
Foundation for the Advancement of Mesoamerican Studies, Inc. (FAMSI)
Primary sources of Maya history – part one by Ronald A. Barnett
Mesoweb by Joel Skidmore.
Maya Map – A map of the Maya civilization.
Former monarchies of North America
History of Guatemala
History of Belize
History of Chiapas
History of El Salvador
History of Honduras
2nd-millennium BC establishments
1697 disestablishments in North America
Former countries in North America
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[
"A nonfood crop, also known as industrial crop, is a crop grown to produce goods for manufacturing, for example fibre for clothing, rather than food for consumption.\n\nPurpose\nIndustrial crops is a designation given to an enterprise that attempts to raise farm sector income, and provide economic development activities for rural areas. Industrial crops also attempt to provide products that can be used as substitutes for imports from other nations.\n\nDiversity \n\nThe range of crops with non-food uses is broad, but includes traditional arable crops like wheat, as well as less conventional crops like hemp and Miscanthus. Products made from non-food crops can be categorised by function:\n\nSee also\n\n Biofuel\n Bioplastics\n Biopolymer\n Cash crops\n Cellulosic biofuel\n Energy crop\n Food vs fuel\n Helix of sustainability\n Intensive crop farming\n National Non-Food Crops Centre\n Renewable Energy\n\nReferences\n\nExternal links\n Industrial Crops and Products Journal\n\nCrops",
"Pastoralist may refer to:\n\n Pastoralism, raising livestock on natural pastures\n Pastoral farming, settled farmers who grow crops to feed their livestock\n People who keep or raise sheep, sheep farming"
] |
[
"Maya civilization",
"Postclassic period (c. 950-1539 AD)",
"Were there any explorers in the Mayan region during this time?",
"I don't know.",
"What was a notable event during this time period?",
"The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America.",
"What were the origins of the Mayan culture?",
"By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies.",
"Which crops did they raise?",
"The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes."
] |
C_f3af675fc9294dec9e5f837a1620ba95_1
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When was the Mayan Calendar developed?
| 5 |
When was the Mayan Calendar developed?
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Maya civilization
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The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America. Mesoamerica was one of six cradles of civilization worldwide. The Mesoamerican area gave rise to a series of cultural developments that included complex societies, agriculture, cities, monumental architecture, writing, and calendrical systems. The set of traits shared by Mesoamerican cultures also included astronomical knowledge, blood and human sacrifice, and a cosmovision that viewed the world as divided into four divisions aligned with the cardinal directions, each with different attributes, and a three-way division of the world into the celestial realm, the earth, and the underworld. By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies. The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes. All Mesoamerican cultures used Stone Age technology; after c. 1000 AD copper, silver and gold were worked. Mesoamerica lacked draft animals, did not use the wheel, and possessed few domesticated animals; the principal means of transport was on foot or by canoe. Mesoamericans viewed the world as hostile and governed by unpredictable deities. The ritual Mesoamerican ballgame was widely played. Mesoamerica is linguistically diverse, with most languages falling within a small number of language families - the major families are Mayan, Mixe-Zoquean, Otomanguean, and Uto-Aztecan; there are also a number of smaller families and isolates. The Mesoamerican language area shares a number of important features, including widespread loanwords, and use of a vigesimal number system. The territory of the Maya covered a third of Mesoamerica, and the Maya were engaged in a dynamic relationship with neighbouring cultures that included the Olmecs, Mixtecs, Teotihuacan, the Aztecs, and others. During the Early Classic period, the Maya cities of Tikal and Kaminaljuyu were key Maya foci in a network that extended beyond the Maya area into the highlands of central Mexico. At around the same time, there was a strong Maya presence at the Tetitla compound of Teotihuacan. Centuries later, during the 9th century AD, murals at Cacaxtla, another site in the central Mexican highlands, were painted in a Maya style. This may have been either an effort to align itself with the still-powerful Maya area after the collapse of Teotihuacan and ensuing political fragmentation in the Mexican Highlands, or an attempt to express a distant Maya origin of the inhabitants. The Maya city of Chichen Itza and the distant Toltec capital of Tula had an especially close relationship. The Maya developed their first civilization in the Preclassic period. Scholars continue to discuss when this era of Maya civilization began. Maya occupation at Cuello (modern-day Belize) has been carbon dated to around 2600 BC. Settlements were established around 1800 BC in the Soconusco region of the Pacific coast, and the Maya were already cultivating the staple crops of maize, beans, squash, and chili pepper. This period was characterized by sedentary communities and the introduction of pottery and fired clay figurines. During the Middle Preclassic Period, small villages began to grow to form cities. Nakbe in the Peten department of Guatemala is the earliest well-documented city in the Maya lowlands, where large structures have been dated to around 750 BC. The northern lowlands of Yucatan were widely settled by the Middle Preclassic. By approximately 400 BC, early Maya rulers were raising stelae. A developed script was already being used in Peten by the 3rd century BC. In the Late Preclassic Period, the enormous city of El Mirador grew to cover approximately 16 square kilometres (6.2 sq mi). Although not as large, Tikal was already a significant city by around 350 BC. In the highlands, Kaminaljuyu emerged as a principal centre in the Late Preclassic. Takalik Abaj and Chocola were two of the most important cities on the Pacific coastal plain, and Komchen grew to become an important site in northern Yucatan. The Late Preclassic cultural florescence collapsed in the 1st century AD and many of the great Maya cities of the epoch were abandoned; the cause of this collapse is unknown. Although much reduced, a significant Maya presence remained into the Postclassic period after the abandonment of the major Classic period cities; the population was particularly concentrated near permanent water sources. Unlike during previous cycles of contraction in the Maya region, abandoned lands were not quickly resettled in the Postclassic. Activity shifted to the northern lowlands and the Maya Highlands; this may have involved migration from the southern lowlands, because many Postclassic Maya groups had migration myths. Chichen Itza and its Puuc neighbours declined dramatically in the 11th century, and this may represent the final episode of Classic Period collapse. After the decline of Chichen Itza, the Maya region lacked a dominant power until the rise of the city of Mayapan in the 12th century. New cities arose near the Caribbean and Gulf coasts, and new trade networks were formed. The Postclassic Period was marked by changes from the preceding Classic Period. The once-great city of Kaminaljuyu in the Valley of Guatemala was abandoned after continuous occupation of almost 2,000 years. Across the highlands and neighbouring Pacific coast, long-occupied cities in exposed locations were relocated, apparently due to a proliferation of warfare. Cities came to occupy more-easily defended hilltop locations surrounded by deep ravines, with ditch-and-wall defences sometimes supplementing the protection provided by the natural terrain. One of the most important cities in the Guatemalan Highlands at this time was Q'umarkaj, the capital of the aggressive K'iche' kingdom. The government of Maya states, from the Yucatan to the Guatemalan highlands, was often organized as joint rule by a council. However, in practice one member of the council could act as a supreme ruler, while the other members served him as advisors. Mayapan was abandoned around 1448, after a period of political, social and environmental turbulence that in many ways echoed the Classic period collapse in the southern Maya region. The abandonment of the city was followed by a period of prolonged warfare, disease and natural disasters in the Yucatan Peninsula, which ended only shortly before Spanish contact in 1511. Even without a dominant regional capital, the early Spanish explorers reported wealthy coastal cities and thriving marketplaces. During the Late Postclassic, the Yucatan Peninsula was divided into a number of independent provinces that shared a common culture but varied in internal sociopolitical organization. On the eve of the Spanish conquest, the highlands of Guatemala were dominated by several powerful Maya states. The K'iche' had carved out a small empire covering a large part of the western Guatemalan Highlands and the neighbouring Pacific coastal plain. However, in the decades before the Spanish invasion the Kaqchikel kingdom had been steadily eroding the kingdom of the K'iche'. CANNOTANSWER
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The Maya civilization () was a Mesoamerican civilization developed by the Maya peoples, and noted for its logosyllabic script—the most sophisticated and highly developed writing system in pre-Columbian Americas—as well as for its art, architecture, mathematics, calendar, and astronomical system. The Maya civilization developed in the area that today comprises southeastern Mexico, all of Guatemala and Belize, and the western portions of Honduras and El Salvador. It includes the northern lowlands of the Yucatán Peninsula and the highlands of the Sierra Madre, the Mexican state of Chiapas, southern Guatemala, El Salvador, and the southern lowlands of the Pacific littoral plain. "Maya" is a modern term used to refer collectively to the various peoples that inhabited this area. They did not call themselves "Maya" and did not have a sense of common identity or political unity. Today, their descendants, known collectively as the Maya, number well over 6 million individuals, speak more than twenty-eight surviving Mayan languages, and reside in nearly the same area as their ancestors.
The Archaic period, before 2000 BC, saw the first developments in agriculture and the earliest villages. The Preclassic period () saw the establishment of the first complex societies in the Maya region, and the cultivation of the staple crops of the Maya diet, including maize, beans, squashes, and chili peppers. The first Maya cities developed around 750 BC, and by 500 BC these cities possessed monumental architecture, including large temples with elaborate stucco façades. Hieroglyphic writing was being used in the Maya region by the 3rd century BC. In the Late Preclassic a number of large cities developed in the Petén Basin, and the city of Kaminaljuyu rose to prominence in the Guatemalan Highlands. Beginning around 250 AD, the Classic period is largely defined as when the Maya were raising sculpted monuments with Long Count dates. This period saw the Maya civilization develop many city-states linked by a complex trade network. In the Maya Lowlands two great rivals, the cities of Tikal and Calakmul, became powerful. The Classic period also saw the intrusive intervention of the central Mexican city of Teotihuacan in Maya dynastic politics. In the 9th century, there was a widespread political collapse in the central Maya region, resulting in internecine warfare, the abandonment of cities, and a northward shift of population. The Postclassic period saw the rise of Chichen Itza in the north, and the expansion of the aggressive Kʼicheʼ kingdom in the Guatemalan Highlands. In the 16th century, the Spanish Empire colonised the Mesoamerican region, and a lengthy series of campaigns saw the fall of Nojpetén, the last Maya city, in 1697.
Rule during the Classic period centred on the concept of the "divine king", who was thought to act as a mediator between mortals and the supernatural realm. Kingship was patrilineal, and power normally passed to the eldest son. A prospective king was expected to be a successful war leader as well as a ruler. Closed patronage systems were the dominant force in Maya politics, although how patronage affected the political makeup of a kingdom varied from city-state to city-state. By the Late Classic period, the aristocracy had grown in size, reducing the previously exclusive power of the king. The Maya developed sophisticated art forms using both perishable and non-perishable materials, including wood, jade, obsidian, ceramics, sculpted stone monuments, stucco, and finely painted murals.
Maya cities tended to expand organically. The city centers comprised ceremonial and administrative complexes, surrounded by an irregularly shaped sprawl of residential districts. Different parts of a city were often linked by causeways. Architecturally, city buildings included palaces, pyramid-temples, ceremonial ballcourts, and structures specially aligned for astronomical observation. The Maya elite were literate, and developed a complex system of hieroglyphic writing. Theirs was the most advanced writing system in the pre-Columbian Americas. The Maya recorded their history and ritual knowledge in screenfold books, of which only three uncontested examples remain, the rest having been destroyed by the Spanish. In addition, a great many examples of Maya texts can be found on stelae and ceramics. The Maya developed a highly complex series of interlocking ritual calendars, and employed mathematics that included one of the earliest known instances of the explicit zero in human history. As a part of their religion, the Maya practised human sacrifice.
Mesoamerica
The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America. Mesoamerica was one of six cradles of civilization worldwide. The Mesoamerican area gave rise to a series of cultural developments that included complex societies, agriculture, cities, monumental architecture, writing, and calendrical systems. The set of traits shared by Mesoamerican cultures also included astronomical knowledge, blood and human sacrifice, and a cosmovision that viewed the world as divided into four divisions aligned with the cardinal directions, each with different attributes, and a three-way division of the world into the celestial realm, the earth, and the underworld.
By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies. The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes. All Mesoamerican cultures used Stone Age technology; after c. 1000 AD copper, silver and gold were worked. Mesoamerica lacked draft animals, did not use the wheel, and possessed few domesticated animals; the principal means of transport was on foot or by canoe. Mesoamericans viewed the world as hostile and governed by unpredictable deities. The ritual Mesoamerican ballgame was widely played. Mesoamerica is linguistically diverse, with most languages falling within a small number of language families—the major families are Mayan, Mixe–Zoquean, Otomanguean, and Uto-Aztecan; there are also a number of smaller families and isolates. The Mesoamerican language area shares a number of important features, including widespread loanwords, and use of a vigesimal number system.
The territory of the Maya covered a third of Mesoamerica, and the Maya were engaged in a dynamic relationship with neighbouring cultures that included the Olmecs, Mixtecs, Teotihuacan, the Aztecs, and others. During the Early Classic period, the Maya cities of Tikal and Kaminaljuyu were key Maya foci in a network that extended beyond the Maya area into the highlands of central Mexico. At around the same time, there was a strong Maya presence at the Tetitla compound of Teotihuacan. Centuries later, during the 9th century AD, murals at Cacaxtla, another site in the central Mexican highlands, were painted in a Maya style. This may have been either an effort to align itself with the still-powerful Maya area after the collapse of Teotihuacan and ensuing political fragmentation in the Mexican Highlands, or an attempt to express a distant Maya origin of the inhabitants. The Maya city of Chichen Itza and the distant Toltec capital of Tula had an especially close relationship.
Geography
The Maya civilization occupied a wide territory that included southeastern Mexico and northern Central America. This area included the entire Yucatán Peninsula and all of the territory now incorporated into the modern countries of Guatemala and Belize, as well as the western portions of Honduras and El Salvador. Most of the peninsula is formed by a vast plain with few hills or mountains and a generally low coastline.
The Petén region consists of densely forested low-lying limestone plain; a chain of fourteen lakes runs across the central drainage basin of Petén. To the south the plain gradually rises towards the Guatemalan Highlands. Dense forest covers northern Petén and Belize, most of Quintana Roo, southern Campeche, and a portion of the south of Yucatán state. Farther north, the vegetation turns to lower forest consisting of dense scrub.
The littoral zone of Soconusco lies to the south of the Sierra Madre de Chiapas, and consists of a narrow coastal plain and the foothills of the Sierra Madre. The Maya highlands extend eastwards from Chiapas into Guatemala, reaching their highest in the Sierra de los Cuchumatanes. The major pre-Columbian population centres of the highlands were located in the largest highland valleys, such as the Valley of Guatemala and the Quetzaltenango Valley. In the southern highlands, a belt of volcanic cones runs parallel to the Pacific coast. The highlands extend northwards into Verapaz, and gradually descend to the east.
History
The history of Maya civilization is divided into three principal periods: the Preclassic, Classic, and Postclassic periods. These were preceded by the Archaic Period, during which the first settled villages and early developments in agriculture emerged. Modern scholars regard these periods as arbitrary divisions of Maya chronology, rather than indicative of cultural evolution or decline. Definitions of the start and end dates of period spans can vary by as much as a century, depending on the author.
Preclassic period (c. 2000 BC – 250 AD)
The Maya developed their first civilization in the Preclassic period. Scholars continue to discuss when this era of Maya civilization began. Maya occupation at Cuello (modern-day Belize) has been carbon dated to around 2600 BC. Settlements were established around 1800 BC in the Soconusco region of the Pacific coast, and the Maya were already cultivating the staple crops of maize, beans, squash, and chili pepper. This period was characterised by sedentary communities and the introduction of pottery and fired clay figurines.
During the Middle Preclassic Period, small villages began to grow to form cities. Nakbe in the Petén department of Guatemala is the earliest well-documented city in the Maya lowlands, where large structures have been dated to around 750 BC. The northern lowlands of Yucatán were widely settled by the Middle Preclassic. By approximately 400 BC, early Maya rulers were raising stelae. A developed script was already being used in Petén by the 3rd century BC. In the Late Preclassic Period, the enormous city of El Mirador grew to cover approximately . Although not as large, Tikal was already a significant city by around 350 BC.
In the highlands, Kaminaljuyu emerged as a principal centre in the Late Preclassic. Takalik Abaj and Chocolá were two of the most important cities on the Pacific coastal plain, and Komchen grew to become an important site in northern Yucatán. The Late Preclassic cultural florescence collapsed in the 1st century AD and many of the great Maya cities of the epoch were abandoned; the cause of this collapse is unknown.
Classic period (c. 250–900 AD)
The Classic period is largely defined as the period during which the lowland Maya raised dated monuments using the Long Count calendar. This period marked the peak of large-scale construction and urbanism, the recording of monumental inscriptions, and demonstrated significant intellectual and artistic development, particularly in the southern lowland regions. The Classic period Maya political landscape has been likened to that of Renaissance Italy or Classical Greece, with multiple city-states engaged in a complex network of alliances and enmities. The largest cities had populations numbering 50,000 to 120,000 and were linked to networks of subsidiary sites.
During the Early Classic, cities throughout the Maya region were influenced by the great metropolis of Teotihuacan in the distant Valley of Mexico. In AD 378, Teotihuacan decisively intervened at Tikal and other nearby cities, deposed their rulers, and installed a new Teotihuacan-backed dynasty. This intervention was led by Siyaj Kʼakʼ ("Born of Fire"), who arrived at Tikal in early 378. The king of Tikal, Chak Tok Ichʼaak I, died on the same day, suggesting a violent takeover. A year later, Siyaj Kʼakʼ oversaw the installation of a new king, Yax Nuun Ahiin I. The installation of the new dynasty led to a period of political dominance when Tikal became the most powerful city in the central lowlands.
Tikal's great rival was Calakmul, another powerful city in the Petén Basin. Tikal and Calakmul both developed extensive systems of allies and vassals; lesser cities that entered one of these networks gained prestige from their association with the top-tier city, and maintained peaceful relations with other members of the same network. Tikal and Calakmul engaged in the manoeuvering of their alliance networks against each other. At various points during the Classic period, one or other of these powers would gain a strategic victory over its great rival, resulting in respective periods of florescence and decline.
In 629, Bʼalaj Chan Kʼawiil, a son of the Tikal king Kʼinich Muwaan Jol II, was sent to found a new city at Dos Pilas, in the Petexbatún region, apparently as an outpost to extend Tikal's power beyond the reach of Calakmul. For the next two decades he fought loyally for his brother and overlord at Tikal. In 648, king Yuknoom Chʼeen II of Calakmul captured Balaj Chan Kʼawiil. Yuknoom Chʼeen II then reinstated Balaj Chan Kʼawiil upon the throne of Dos Pilas as his vassal. He thereafter served as a loyal ally of Calakmul.
In the southeast, Copán was the most important city. Its Classic-period dynasty was founded in 426 by Kʼinich Yax Kʼukʼ Moʼ. The new king had strong ties with central Petén and Teotihuacan. Copán reached the height of its cultural and artistic development during the rule of Uaxaclajuun Ubʼaah Kʼawiil, who ruled from 695 to 738. His reign ended catastrophically when he was captured by his vassal, king Kʼakʼ Tiliw Chan Yopaat of Quiriguá. The captured lord of Copán was taken back to Quiriguá and was decapitated in a public ritual. It is likely that this coup was backed by Calakmul, in order to weaken a powerful ally of Tikal. Palenque and Yaxchilan were the most powerful cities in the Usumacinta region. In the highlands, Kaminaljuyu in the Valley of Guatemala was already a sprawling city by 300. In the north of the Maya area, Coba was the most important capital.
Classic Maya collapse
During the 9th century AD, the central Maya region suffered major political collapse, marked by the abandonment of cities, the ending of dynasties, and a northward shift in activity. No universally accepted theory explains this collapse, but it likely had a combination of causes, including endemic internecine warfare, overpopulation resulting in severe environmental degradation, and drought. During this period, known as the Terminal Classic, the northern cities of Chichen Itza and Uxmal showed increased activity. Major cities in the northern Yucatán Peninsula continued to be inhabited long after the cities of the southern lowlands ceased to raise monuments.
Classic Maya social organization was based on the ritual authority of the ruler, rather than central control of trade and food distribution. This model of rulership was poorly structured to respond to changes, because the ruler's actions were limited by tradition to such activities as construction, ritual, and warfare. This only served to exacerbate systemic problems. By the 9th and 10th centuries, this resulted in collapse of this system of rulership. In the northern Yucatán, individual rule was replaced by a ruling council formed from elite lineages. In the southern Yucatán and central Petén, kingdoms declined; in western Petén and some other areas, the changes were catastrophic and resulted in the rapid depopulation of cities. Within a couple of generations, large swathes of the central Maya area were all but abandoned. Both the capitals and their secondary centres were generally abandoned within a period of 50 to 100 years. One by one, cities stopped sculpting dated monuments; the last Long Count date was inscribed at Toniná in 909. Stelae were no longer raised, and squatters moved into abandoned royal palaces. Mesoamerican trade routes shifted and bypassed Petén.
Postclassic period (c. 950–1539 AD)
Although much reduced, a significant Maya presence remained into the Postclassic period after the abandonment of the major Classic period cities; the population was particularly concentrated near permanent water sources. Unlike during previous cycles of contraction in the Maya region, abandoned lands were not quickly resettled in the Postclassic. Activity shifted to the northern lowlands and the Maya Highlands; this may have involved migration from the southern lowlands, because many Postclassic Maya groups had migration myths. Chichen Itza and its Puuc neighbours declined dramatically in the 11th century, and this may represent the final episode of Classic Period collapse. After the decline of Chichen Itza, the Maya region lacked a dominant power until the rise of the city of Mayapan in the 12th century. New cities arose near the Caribbean and Gulf coasts, and new trade networks were formed.
The Postclassic Period was marked by changes from the preceding Classic Period. The once-great city of Kaminaljuyu in the Valley of Guatemala was abandoned after continuous occupation of almost 2,000 years. Across the highlands and neighbouring Pacific coast, long-occupied cities in exposed locations were relocated, apparently due to a proliferation of warfare. Cities came to occupy more-easily defended hilltop locations surrounded by deep ravines, with ditch-and-wall defences sometimes supplementing the protection provided by the natural terrain. One of the most important cities in the Guatemalan Highlands at this time was Qʼumarkaj, the capital of the aggressive Kʼicheʼ kingdom. The government of Maya states, from the Yucatán to the Guatemalan highlands, was often organised as joint rule by a council. However, in practice one member of the council could act as a supreme ruler, while the other members served him as advisors.
Mayapan was abandoned around 1448, after a period of political, social and environmental turbulence that in many ways echoed the Classic period collapse in the southern Maya region. The abandonment of the city was followed by a period of prolonged warfare, disease and natural disasters in the Yucatán Peninsula, which ended only shortly before Spanish contact in 1511. Even without a dominant regional capital, the early Spanish explorers reported wealthy coastal cities and thriving marketplaces. During the Late Postclassic, the Yucatán Peninsula was divided into a number of independent provinces that shared a common culture but varied in internal sociopolitical organization. On the eve of the Spanish conquest, the highlands of Guatemala were dominated by several powerful Maya states. The Kʼicheʼ had carved out a small empire covering a large part of the western Guatemalan Highlands and the neighbouring Pacific coastal plain. However, in the decades before the Spanish invasion the Kaqchikel kingdom had been steadily eroding the kingdom of the Kʼicheʼ.
Contact period and Spanish conquest (1511–1697 AD)
In 1511, a Spanish caravel was wrecked in the Caribbean, and about a dozen survivors made landfall on the coast of Yucatán. They were seized by a Maya lord, and most were sacrificed, although two managed to escape. From 1517 to 1519, three separate Spanish expeditions explored the Yucatán coast, and engaged in a number of battles with the Maya inhabitants. After the Aztec capital Tenochtitlan fell to the Spanish in 1521, Hernán Cortés despatched Pedro de Alvarado to Guatemala with 180 cavalry, 300 infantry, 4 cannons, and thousands of allied warriors from central Mexico; they arrived in Soconusco in 1523. The Kʼicheʼ capital, Qʼumarkaj, fell to Alvarado in 1524. Shortly afterwards, the Spanish were invited as allies into Iximche, the capital city of the Kaqchikel Maya. Good relations did not last, due to excessive Spanish demands for gold as tribute, and the city was abandoned a few months later. This was followed by the fall of Zaculeu, the Mam Maya capital, in 1525. Francisco de Montejo and his son, Francisco de Montejo the Younger, launched a long series of campaigns against the polities of the Yucatán Peninsula in 1527, and finally completed the conquest of the northern portion of the peninsula in 1546. This left only the Maya kingdoms of the Petén Basin independent. In 1697, Martín de Ursúa launched an assault on the Itza capital Nojpetén and the last independent Maya city fell to the Spanish.
Persistence of Maya culture
The Spanish conquest stripped away most of the defining features of Maya civilization. However, many Maya villages remained remote from Spanish colonial authority, and for the most part continued to manage their own affairs. Maya communities and the nuclear family maintained their traditional day-to-day life. The basic Mesoamerican diet of maize and beans continued, although agricultural output was improved by the introduction of steel tools. Traditional crafts such as weaving, ceramics, and basketry continued to be practised. Community markets and trade in local products continued long after the conquest. At times, the colonial administration encouraged the traditional economy in order to extract tribute in the form of ceramics or cotton textiles, although these were usually made to European specifications. Maya beliefs and language proved resistant to change, despite vigorous efforts by Catholic missionaries. The 260-day tzolkʼin ritual calendar continues in use in modern Maya communities in the highlands of Guatemala and Chiapas, and millions of Mayan-language speakers inhabit the territory in which their ancestors developed their civilization.
Investigation of Maya civilization
The agents of the Catholic Church wrote detailed accounts of the Maya, in support of their efforts at Christianization, and absorption of the Maya into the Spanish Empire. This was followed by various Spanish priests and colonial officials who left descriptions of ruins they visited in Yucatán and Central America. In 1839, American traveller and writer John Lloyd Stephens set out to visit a number of Maya sites with English architect and draftsman Frederick Catherwood. Their illustrated accounts of the ruins sparked strong popular interest, and brought the Maya to the attention of the world. The later 19th century saw the recording and recovery of ethnohistoric accounts of the Maya, and the first steps in deciphering Maya hieroglyphs.
The final two decades of the 19th century saw the birth of modern scientific archaeology in the Maya region, with the meticulous work of Alfred Maudslay and Teoberto Maler. By the early 20th century, the Peabody Museum was sponsoring excavations at Copán and in the Yucatán Peninsula. In the first two decades of the 20th century, advances were made in deciphering the Maya calendar, and identifying deities, dates, and religious concepts. Since the 1930s, archaeological exploration increased dramatically, with large-scale excavations across the Maya region.
In the 1960s, the distinguished Mayanist J. Eric S. Thompson promoted the ideas that Maya cities were essentially vacant ceremonial centres serving a dispersed population in the forest, and that the Maya civilization was governed by peaceful astronomer-priests. These ideas began to collapse with major advances in the decipherment of the script in the late 20th century, pioneered by Heinrich Berlin, Tatiana Proskouriakoff, and Yuri Knorozov. With breakthroughs in understanding of Maya script since the 1950s, the texts revealed the warlike activities of the Classic Maya kings, and the view of the Maya as peaceful could no longer be supported.
Politics
Unlike the Aztecs and the Inca, the Maya political system never integrated the entire Maya cultural area into a single state or empire. Rather, throughout its history, the Maya area contained a varying mix of political complexity that included both states and chiefdoms. These polities fluctuated greatly in their relationships with each other and were engaged in a complex web of rivalries, periods of dominance or submission, vassalage, and alliances. At times, different polities achieved regional dominance, such as Calakmul, Caracol, Mayapan, and Tikal. The first reliably evidenced polities formed in the Maya lowlands in the 9th century BC.
During the Late Preclassic, the Maya political system coalesced into a theopolitical form, where elite ideology justified the ruler's authority, and was reinforced by public display, ritual, and religion. The divine king was the centre of political power, exercising ultimate control over the administrative, economic, judicial, and military functions of the polity. The divine authority invested within the ruler was such that the king was able to mobilize both the aristocracy and commoners in executing huge infrastructure projects, apparently with no police force or standing army. Some polities engaged in a strategy of increasing administration, and filling administrative posts with loyal supporters rather than blood relatives. Within a polity, mid-ranking population centres would have played a key role in managing resources and internal conflict.
The Maya political landscape was highly complex and Maya elites engaged in political intrigue to gain economic and social advantage over neighbours. In the Late Classic, some cities established a long period of dominance over other large cities, such as the dominance of Caracol over Naranjo for half a century. In other cases, loose alliance networks were formed around a dominant city. Border settlements, usually located about halfway between neighbouring capitals, often switched allegiance over the course of their history, and at times acted independently. Dominant capitals exacted tribute in the form of luxury items from subjugated population centres. Political power was reinforced by military power, and the capture and humiliation of enemy warriors played an important part in elite culture. An overriding sense of pride and honour among the warrior aristocracy could lead to extended feuds and vendettas, which caused political instability and the fragmentation of polities.
Society
From the Early Preclassic, Maya society was sharply divided between the elite and commoners. As population increased over time, various sectors of society became increasingly specialised, and political organization became increasingly complex. By the Late Classic, when populations had grown enormously and hundreds of cities were connected in a complex web of political hierarchies, the wealthy segment of society multiplied. A middle class may have developed that included artisans, low ranking priests and officials, merchants, and soldiers. Commoners included farmers, servants, labourers, and slaves. According to indigenous histories, land was held communally by noble houses or clans. Such clans held that the land was the property of the clan ancestors, and such ties between the land and the ancestors were reinforced by the burial of the dead within residential compounds.
King and court
Classic Maya rule was centred in a royal culture that was displayed in all areas of Classic Maya art. The king was the supreme ruler and held a semi-divine status that made him the mediator between the mortal realm and that of the gods. From very early times, kings were specifically identified with the young maize god, whose gift of maize was the basis of Mesoamerican civilization. Maya royal succession was patrilineal, and royal power only passed to queens when doing otherwise would result in the extinction of the dynasty. Typically, power was passed to the eldest son. A young prince was called a chʼok ("youth"), although this word later came to refer to nobility in general. The royal heir was called bʼaah chʼok ("head youth"). Various points in the young prince's childhood were marked by ritual; the most important was a bloodletting ceremony at age five or six years. Although being of the royal bloodline was of utmost importance, the heir also had to be a successful war leader, as demonstrated by taking of captives. The enthronement of a new king was a highly elaborate ceremony, involving a series of separate acts that included enthronement upon a jaguar-skin cushion, human sacrifice, and receiving the symbols of royal power, such as a headband bearing a jade representation of the so-called "jester god", an elaborate headdress adorned with quetzal feathers, and a sceptre representing the god Kʼawiil.
Maya political administration, based around the royal court, was not bureaucratic in nature. Government was hierarchical, and official posts were sponsored by higher-ranking members of the aristocracy; officials tended to be promoted to higher levels of office during the course of their lives. Officials are referred to as being "owned" by their sponsor, and this relationship continued even after the death of the sponsor. The Maya royal court was a vibrant and dynamic political institution. There was no universal structure for the Maya royal court, instead each polity formed a royal court that was suited to its own individual context. A number of royal and noble titles have been identified by epigraphers translating Classic Maya inscriptions. Ajaw is usually translated as "lord" or "king". In the Early Classic, an ajaw was the ruler of a city. Later, with increasing social complexity, the ajaw was a member of the ruling class and a major city could have more than one, each ruling over different districts. Paramount rulers distinguished themselves from the extended nobility by prefixing the word kʼuhul to their ajaw title. A kʼuhul ajaw was "divine lord", originally confined to the kings of the most prestigious and ancient royal lines. Kalomte was a royal title, whose exact meaning is not yet deciphered, but it was held only by the most powerful kings of the strongest dynasties. It indicated an overlord, or high king, and the title was only in use during the Classic period. By the Late Classic, the absolute power of the kʼuhul ajaw had weakened, and the political system had diversified to include a wider aristocracy, that by this time may well have expanded disproportionately.
A sajal was ranked below the ajaw, and indicated a subservient lord. A sajal would be lord of a second- or third-tier site, answering to an ajaw, who may himself have been subservient to a kalomte. A sajal would often be a war captain or regional governor, and inscriptions often link the sajal title to warfare; they are often mentioned as the holders of war captives. Sajal meant "feared one". The titles of ah tzʼihb and ah chʼul hun are both related to scribes. The ah tzʼihb was a royal scribe, usually a member of the royal family; the ah chʼul hun was the Keeper of the Holy Books, a title that is closely associated with the ajaw title, indicating that an ajaw always held the ah chʼul hun title simultaneously. Other courtly titles, the functions of which are not well understood, were yajaw kʼahk''' ("Lord of Fire"), tiʼhuun and ti'sakhuun. These last two may be variations on the same title, and Mark Zender has suggested that the holder of this title may have been the spokesman for the ruler. Courtly titles are overwhelmingly male-oriented, and in those relatively rare occasions where they are applied to a woman, they appear to be used as honorifics for female royalty. Titled elites were often associated with particular structures in the hieroglyphic inscriptions of Classic period cities, indicating that such office holders either owned that structure, or that the structure was an important focus for their activities. A lakam, or standard-bearer, was possibly the only non-elite post-holder in the royal court. The lakam was only found in larger sites, and they appear to have been responsible for the taxation of local districts.
Different factions may have existed in the royal court. The kʼuhul ahaw and his household would have formed the central power-base, but other important groups were the priesthood, the warrior aristocracy, and other aristocratic courtiers. Where ruling councils existed, as at Chichen Itza and Copán, these may have formed an additional faction. Rivalry between different factions would have led to dynamic political institutions as compromises and disagreements were played out. In such a setting, public performance was vital. Such performances included ritual dances, presentation of war captives, offerings of tribute, human sacrifice, and religious ritual.
Commoners
Commoners are estimated to have comprised over 90% of the population, but relatively little is known about them. Their houses were generally constructed from perishable materials, and their remains have left little trace in the archaeological record. Some commoner dwellings were raised on low platforms, and these can be identified, but an unknown quantity of commoner houses were not. Such low-status dwellings can only be detected by extensive remote-sensing surveys of apparently empty terrain. The range of commoners was broad; it consisted of everyone not of noble birth, and therefore included everyone from the poorest farmers to wealthy craftsmen and commoners appointed to bureaucratic positions. Commoners engaged in essential production activities, including that of products destined for use by the elite, such as cotton and cacao, as well as subsistence crops for their own use, and utilitarian items such as ceramics and stone tools. Commoners took part in warfare, and could advance socially by proving themselves as outstanding warriors. Commoners paid taxes to the elite in the form of staple goods such as maize, flour and game. It is likely that hard-working commoners who displayed exceptional skills and initiative could become influential members of Maya society.
Warfare
Warfare was prevalent in the Maya world. Military campaigns were launched for a variety of reasons, including the control of trade routes and tribute, raids to take captives, scaling up to the complete destruction of an enemy state. Little is known about Maya military organization, logistics, or training. Warfare is depicted in Maya art from the Classic period, and wars and victories are mentioned in hieroglyphic inscriptions. Unfortunately, the inscriptions do not provide information upon the causes of war, or the form it took. In the 8th–9th centuries, intensive warfare resulted in the collapse of the kingdoms of the Petexbatún region of western Petén. The rapid abandonment of Aguateca by its inhabitants has provided a rare opportunity to examine the remains of Maya weaponry in situ. Aguateca was stormed by unknown enemies around 810 AD, who overcame its formidable defences and burned the royal palace. The elite inhabitants of the city either fled or were captured, and never returned to collect their abandoned property. The inhabitants of the periphery abandoned the site soon after. This is an example of intensive warfare carried out by an enemy in order to eliminate a Maya state, rather than subjugate it. Research at Aguateca indicated that Classic period warriors were primarily members of the elite.
From as early as the Preclassic period, the ruler of a Maya polity was expected to be a distinguished war leader, and was depicted with trophy heads hanging from his belt. In the Classic period, such trophy heads no longer appeared on the king's belt, but Classic period kings are frequently depicted standing over humiliated war captives. Right up to the end of the Postclassic period, Maya kings led as war captains. Maya inscriptions from the Classic show that a defeated king could be captured, tortured, and sacrificed. The Spanish recorded that Maya leaders kept track of troop movements in painted books.
The outcome of a successful military campaign could vary in its impact on the defeated polity. In some cases, entire cities were sacked, and never resettled, as at Aguateca. In other instances, the victors would seize the defeated rulers, their families, and patron gods. The captured nobles and their families could be imprisoned, or sacrificed. At the least severe end of the scale, the defeated polity would be obliged to pay tribute to the victor.
Warriors
During the Contact period, it is known that certain military positions were held by members of the aristocracy, and were passed on by patrilineal succession. It is likely that the specialised knowledge inherent in the particular military role was taught to the successor, including strategy, ritual, and war dances. Maya armies of the Contact period were highly disciplined, and warriors participated in regular training exercises and drills; every able-bodied adult male was available for military service. Maya states did not maintain standing armies; warriors were mustered by local officials who reported back to appointed warleaders. There were also units of full-time mercenaries who followed permanent leaders. Most warriors were not full-time, however, and were primarily farmers; the needs of their crops usually came before warfare. Maya warfare was not so much aimed at destruction of the enemy as the seizure of captives and plunder.
There is some evidence from the Classic period that women provided supporting roles in war, but they did not act as military officers with the exception of those rare ruling queens. By the Postclassic, the native chronicles suggest that women occasionally fought in battle.
Weapons
The atlatl (spear-thrower) was introduced to the Maya region by Teotihuacan in the Early Classic. This was a stick with a notched end to hold a dart or javelin. The stick was used to launch the missile with more force and accuracy than could be accomplished by simply hurling it with the arm alone. Evidence in the form of stone blade points recovered from Aguateca indicate that darts and spears were the primary weapons of the Classic Maya warrior. Commoners used blowguns in war, which also served as their hunting weapon. The bow and arrow is another weapon that was used by the ancient Maya for both war and hunting. Although present in the Maya region during the Classic period, its use as a weapon of war was not favoured; it did not become a common weapon until the Postclassic. The Contact period Maya also used two-handed swords crafted from strong wood with the blade fashioned from inset obsidian, similar to the Aztec macuahuitl. Maya warriors wore body armour in the form of quilted cotton that had been soaked in salt water to toughen it; the resulting armour compared favourably to the steel armour worn by the Spanish when they conquered the region. Warriors bore wooden or animal hide shields decorated with feathers and animal skins.
Trade
Trade was a key component of Maya society, and in the development of the Maya civilization. The cities that grew to become the most important usually controlled access to vital trade goods, or portage routes. Cities such as Kaminaljuyu and Qʼumarkaj in the Guatemalan Highlands, and Chalchuapa in El Salvador, variously controlled access to the sources of obsidian at different points in Maya history. The Maya were major producers of cotton, which was used to make the textiles to be traded throughout Mesoamerica. The most important cities in the northern Yucatán Peninsula controlled access to the sources of salt. In the Postclassic, the Maya engaged in a flourishing slave trade with wider Mesoamerica.
The Maya engaged in long-distance trade across the Maya region, and across greater Mesoamerica and beyond. As an illustration, an Early Classic Maya merchant quarter has been identified at the distant metropolis of Teotihuacan, in central Mexico. Within Mesoamerica beyond the Maya area, trade routes particularly focused on central Mexico and the Gulf coast. In the Early Classic, Chichen Itza was at the hub of an extensive trade network that imported gold discs from Colombia and Panama, and turquoise from Los Cerrillos, New Mexico. Long-distance trade of both luxury and utilitarian goods was probably controlled by the royal family. Prestige goods obtained by trade were used both for consumption by the city's ruler, and as luxury gifts to consolidate the loyalty of vassals and allies.
Trade routes not only supplied physical goods, they facilitated the movement of people and ideas throughout Mesoamerica. Shifts in trade routes occurred with the rise and fall of important cities in the Maya region, and have been identified in every major reorganization of the Maya civilization, such as the rise of Preclassic Maya civilization, the transition to the Classic, and the Terminal Classic collapse. Even the Spanish Conquest did not immediately terminate all Maya trading activity; for example, the Contact period Manche Chʼol traded the prestige crops of cacao, annatto and vanilla into colonial Verapaz.
Merchants
Little is known of Maya merchants, although they are depicted on Maya ceramics in elaborate noble dress. From this, it is known that at least some traders were members of the elite. During the Contact period, it is known that Maya nobility took part in long-distance trading expeditions. The majority of traders were middle class, but were largely engaged in local and regional trade rather than the prestigious long-distance trading that was the preserve of the elite. The travelling of merchants into dangerous foreign territory was likened to a passage through the underworld; the patron deities of merchants were two underworld gods carrying backpacks. When merchants travelled, they painted themselves black, like their patron gods, and went heavily armed.
The Maya had no pack animals, so all trade goods were carried on the backs of porters when going overland; if the trade route followed a river or the coast, then goods were transported in canoes. A substantial Maya trading canoe was encountered off Honduras on Christopher Columbus's fourth voyage. It was made from a large hollowed-out tree trunk and had a palm-covered canopy. The canoe was broad and was powered by 25 rowers. Trade goods carried included cacao, obsidian, ceramics, textiles, food and drink for the crew, and copper bells and axes. Cacao was used as currency (although not exclusively), and its value was such that counterfeiting occurred by removing the flesh from the pod, and stuffing it with dirt or avocado rind.
Marketplaces
Marketplaces are difficult to identify archaeologically. However, the Spanish reported a thriving market economy when they arrived in the region. At some Classic period cities, archaeologists have tentatively identified formal arcade-style masonry architecture and parallel alignments of scattered stones as the permanent foundations of market stalls. A 2007 study analysed soils from a modern Guatemalan market and compared the results with those obtained from analysis at a proposed ancient market at Chunchucmil. Unusually high levels of zinc and phosphorus at both sites indicated similar food production and vegetable sales activity. The calculated density of market stalls at Chunchucmil strongly suggests that a thriving market economy already existed in the Early Classic. Archaeologists have tentatively identified marketplaces at an increasing number of Maya cities by means of a combination of archaeology and soil analysis. When the Spanish arrived, Postclassic cities in the highlands had markets in permanent plazas, with officials on hand to settle disputes, enforce rules, and collect taxes.
Art
Maya art is essentially the art of the royal court. It is almost exclusively concerned with the Maya elite and their world. Maya art was crafted from both perishable and non-perishable materials, and served to link the Maya to their ancestors. Although surviving Maya art represents only a small proportion of the art that the Maya created, it represents a wider variety of subjects than any other art tradition in the Americas. Maya art has many regional styles, and is unique in the ancient Americas in bearing narrative text. The finest surviving Maya art dates to the Late Classic period.
The Maya exhibited a preference for the colour green or blue-green, and used the same word for the colours blue and green. Correspondingly, they placed high value on apple-green jade, and other greenstones, associating them with the sun-god Kʼinich Ajau. They sculpted artefacts that included fine tesserae and beads, to carved heads weighing . The Maya nobility practised dental modification, and some lords wore encrusted jade in their teeth. Mosaic funerary masks could also be fashioned from jade, such as that of Kʼinich Janaabʼ Pakal, king of Palenque.
Maya stone sculpture emerged into the archaeological record as a fully developed tradition, suggesting that it may have evolved from a tradition of sculpting wood. Because of the biodegradability of wood, the corpus of Maya woodwork has almost entirely disappeared. The few wooden artefacts that have survived include three-dimensional sculptures, and hieroglyphic panels. Stone Maya stelae are widespread in city sites, often paired with low, circular stones referred to as altars in the literature. Stone sculpture also took other forms, such as the limestone relief panels at Palenque and Piedras Negras. At Yaxchilan, Dos Pilas, Copán, and other sites, stone stairways were decorated with sculpture. The hieroglyphic stairway at Copán comprises the longest surviving Maya hieroglyphic text, and consists of 2,200 individual glyphs.
The largest Maya sculptures consisted of architectural façades crafted from stucco. The rough form was laid out on a plain plaster base coating on the wall, and the three-dimensional form was built up using small stones. Finally, this was coated with stucco and moulded into the finished form; human body forms were first modelled in stucco, with their costumes added afterwards. The final stucco sculpture was then brightly painted. Giant stucco masks were used to adorn temple façades by the Late Preclassic, and such decoration continued into the Classic period.
The Maya had a long tradition of mural painting; rich polychrome murals have been excavated at San Bartolo, dating to between 300 and 200 BC. Walls were coated with plaster, and polychrome designs were painted onto the smooth finish. The majority of such murals have not survived, but Early Classic tombs painted in cream, red, and black have been excavated at Caracol, Río Azul, and Tikal. Among the best preserved murals are a full-size series of Late Classic paintings at Bonampak.
Flint, chert, and obsidian all served utilitarian purposes in Maya culture, but many pieces were finely crafted into forms that were never intended to be used as tools. Eccentric flints are among the finest lithic artefacts produced by the ancient Maya. They were technically very challenging to produce, requiring considerable skill on the part of the artisan. Large obsidian eccentrics can measure over in length. Their actual form varies considerably but they generally depict human, animal and geometric forms associated with Maya religion. Eccentric flints show a great variety of forms, such as crescents, crosses, snakes, and scorpions. The largest and most elaborate examples display multiple human heads, with minor heads sometimes branching off from larger one.
Maya textiles are very poorly represented in the archaeological record, although by comparison with other pre-Columbian cultures, such as the Aztecs and the Andean region, it is likely that they were high-value items. A few scraps of textile have been recovered by archaeologists, but the best evidence for textile art is where they are represented in other media, such as painted murals or ceramics. Such secondary representations show the elite of the Maya court adorned with sumptuous cloths, generally these would have been cotton, but jaguar pelts and deer hides are also shown.
Ceramics are the most commonly surviving type of Maya art. The Maya had no knowledge of the potter's wheel, and Maya vessels were built up by coiling rolled strips of clay into the desired form. Maya pottery was not glazed, although it often had a fine finish produced by burnishing. Maya ceramics were painted with clay slips blended with minerals and coloured clays. Ancient Maya firing techniques have yet to be replicated. A quantity of extremely fine ceramic figurines have been excavated from Late Classic tombs on Jaina Island, in northern Yucatán. They stand from high and were hand modelled, with exquisite detail. The Ik-style polychrome ceramic corpus, including finely painted plates and cylindrical vessels, originated in Late Classic Motul de San José. It includes a set of features such as hieroglyphs painted in a pink or pale red colour and scenes with dancers wearing masks. One of the most distinctive features is the realistic representation of subjects as they appeared in life. The subject matter of the vessels includes courtly life from the Petén region in the 8th century AD, such as diplomatic meetings, feasting, bloodletting, scenes of warriors and the sacrifice of prisoners of war.
Bone, both human and animal, was also sculpted; human bones may have been trophies, or relics of ancestors. The Maya valued Spondylus shells, and worked them to remove the white exterior and spines, to reveal the fine orange interior. Around the 10th century AD, metallurgy arrived in Mesoamerica from South America, and the Maya began to make small objects in gold, silver and copper. The Maya generally hammered sheet metal into objects such as beads, bells, and discs. In the last centuries before the Spanish Conquest, the Maya began to use the lost-wax method to cast small metal pieces.
One poorly studied area of Maya folk art is graffiti. Additional graffiti, not part of the planned decoration, was incised into the stucco of interior walls, floors, and benches, in a wide variety of buildings, including temples, residences, and storerooms. Graffiti has been recorded at 51 Maya sites, particularly clustered in the Petén Basin and southern Campeche, and the Chenes region of northwestern Yucatán. At Tikal, where a great quantity of graffiti has been recorded, the subject matter includes drawings of temples, people, deities, animals, banners, litters, and thrones. Graffiti was often inscribed haphazardly, with drawings overlapping each other, and display a mix of crude, untrained art, and examples by artists who were familiar with Classic-period artistic conventions.
Architecture
The Maya produced a vast array of structures, and have left an extensive architectural legacy. Maya architecture also incorporates various art forms and hieroglyphic texts. Masonry architecture built by the Maya evidences craft specialization in Maya society, centralised organization and the political means to mobilize a large workforce. It is estimated that a large elite residence at Copán required an estimated 10,686 man-days to build, which compares to 67-man-days for a commoner's hut. It is further estimated that 65% of the labour required to build the noble residence was used in the quarrying, transporting, and finishing of the stone used in construction, and 24% of the labour was required for the manufacture and application of limestone-based plaster. Altogether, it is estimated that two to three months were required for the construction of the residence for this single noble at Copán, using between 80 and 130 full-time labourers. A Classic-period city like Tikal was spread over , with an urban core covering . The labour required to build such a city was immense, running into many millions of man-days. The most massive structures ever erected by the Maya were built during the Preclassic period. Craft specialization would have required dedicated stonemasons and plasterers by the Late Preclassic, and would have required planners and architects.
Urban design
Maya cities were not formally planned, and were subject to irregular expansion, with the haphazard addition of palaces, temples and other buildings. Most Maya cities tended to grow outwards from the core, and upwards as new structures were superimposed upon preceding architecture. Maya cities usually had a ceremonial and administrative centre surrounded by a vast irregular sprawl of residential complexes. The centres of all Maya cities featured sacred precincts, sometimes separated from nearby residential areas by walls. These precincts contained pyramid temples and other monumental architecture dedicated to elite activities, such as basal platforms that supported administrative or elite residential complexes. Sculpted monuments were raised to record the deeds of the ruling dynasty. City centres also featured plazas, sacred ballcourts and buildings used for marketplaces and schools. Frequently causeways linked the centre to outlying areas of the city. Some of these classes of architecture formed lesser groups in the outlying areas of the city, which served as sacred centres for non-royal lineages. The areas adjacent to these sacred compounds included residential complexes housing wealthy lineages. The largest and richest of these elite compounds sometimes possessed sculpture and art of craftsmanship equal to that of royal art.
The ceremonial centre of the Maya city was where the ruling elite lived, and where the administrative functions of the city were performed, together with religious ceremonies. It was also where the inhabitants of the city gathered for public activities. Elite residential complexes occupied the best land around the city centre, while commoners had their residences dispersed further away from the ceremonial centre. Residential units were built on top of stone platforms to raise them above the level of the rain season floodwaters.
Building materials and methods
The Maya built their cities with Neolithic technology; they built their structures from both perishable materials and from stone. The exact type of stone used in masonry construction varied according to locally available resources, and this also affected the building style. Across a broad swathe of the Maya area, limestone was immediately available. The local limestone is relatively soft when freshly cut, but hardens with exposure. There was great variety in the quality of limestone, with good-quality stone available in the Usumacinta region; in the northern Yucatán, the limestone used in construction was of relatively poor quality. Volcanic tuff was used at Copán, and nearby Quiriguá employed sandstone. In Comalcalco, where suitable stone was not available locally, fired bricks were employed. Limestone was burned at high temperatures in order to manufacture cement, plaster, and stucco. Lime-based cement was used to seal stonework in place, and stone blocks were fashioned using rope-and-water abrasion, and with obsidian tools. The Maya did not employ a functional wheel, so all loads were transported on litters, barges, or rolled on logs. Heavy loads were lifted with rope, but probably without employing pulleys.
Wood was used for beams, and for lintels, even in masonry structures. Throughout Maya history, common huts and some temples continued to be built from wooden poles and thatch. Adobe was also applied; this consisted of mud strengthened with straw and was applied as a coating over the woven-stick walls of huts. Like wood and thatch, adobe was used throughout Maya history, even after the development of masonry structures. In the southern Maya area, adobe was employed in monumental architecture when no suitable stone was locally available.
Principal construction types
The great cities of the Maya civilization were composed of pyramid temples, palaces, ballcourts, sacbeob (causeways), patios and plazas. Some cities also possessed extensive hydraulic systems or defensive walls. The exteriors of most buildings were painted, either in one or multiple colours, or with imagery. Many buildings were adorned with sculpture or painted stucco reliefs.
Palaces and acropoleis
These complexes were usually located in the site core, beside a principal plaza. Maya palaces consisted of a platform supporting a multiroom range structure. The term acropolis, in a Maya context, refers to a complex of structures built upon platforms of varying height. Palaces and acropoleis were essentially elite residential compounds. They generally extended horizontally as opposed to the towering Maya pyramids, and often had restricted access. Some structures in Maya acropoleis supported roof combs. Rooms often had stone benches, used for sleeping, and holes indicate where curtains once hung. Large palaces, such as at Palenque, could be fitted with a water supply, and sweat baths were often found within the complex, or nearby. During the Early Classic, rulers were sometimes buried underneath the acropolis complex. Some rooms in palaces were true throne rooms; in the royal palace of Palenque there were a number of throne rooms that were used for important events, including the inauguration of new kings.
Palaces are usually arranged around one or more courtyards, with their façades facing inwards; some examples are adorned with sculpture. Some palaces possess associated hieroglyphic descriptions that identify them as the royal residences of named rulers. There is abundant evidence that palaces were far more than simple elite residences, and that a range of courtly activities took place in them, including audiences, formal receptions, and important rituals.
Pyramids and temples
Temples were sometimes referred to in hieroglyphic texts as kʼuh nah, meaning "god's house". Temples were raised on platforms, most often upon a pyramid. The earliest temples were probably thatched huts built upon low platforms. By the Late Preclassic period, their walls were of stone, and the development of the corbel arch allowed stone roofs to replace thatch. By the Classic period, temple roofs were being topped with roof combs that extended the height of the temple and served as a foundation for monumental art. The temple shrines contained between one and three rooms, and were dedicated to important deities. Such a deity might be one of the patron gods of the city, or a deified ancestor. In general, freestanding pyramids were shrines honouring powerful ancestors.
E-Groups and observatories
The Maya were keen observers of the sun, stars, and planets. E-Groups were a particular arrangement of temples that were relatively common in the Maya region; they take their names from Group E at Uaxactun. They consisted of three small structures facing a fourth structure, and were used to mark the solstices and equinoxes. The earliest examples date to the Preclassic period. The Lost World complex at Tikal started out as an E-Group built towards the end of the Middle Preclassic. Due to its nature, the basic layout of an E-Group was constant. A structure was built on the west side of a plaza; it was usually a radial pyramid with stairways facing the cardinal directions. It faced east across the plaza to three small temples on the far side. From the west pyramid, the sun was seen to rise over these temples on the solstices and equinoxes. E-Groups were raised across the central and southern Maya area for over a millennium; not all were properly aligned as observatories, and their function may have been symbolic.
As well as E-Groups, the Maya built other structures dedicated to observing the movements of celestial bodies. Many Maya buildings were aligned with astronomical bodies, including the planet Venus, and various constellations. The Caracol structure at Chichen Itza was a circular multi-level edifice, with a conical superstructure. It has slit windows that marked the movements of Venus. At Copán, a pair of stelae were raised to mark the position of the setting sun at the equinoxes.
Triadic pyramids
Triadic pyramids first appeared in the Preclassic. They consisted of a dominant structure flanked by two smaller inward-facing buildings, all mounted upon a single basal platform. The largest known triadic pyramid was built at El Mirador in the Petén Basin; it covers an area six times as large as that covered by Temple IV, the largest pyramid at Tikal. The three superstructures all have stairways leading up from the central plaza on top of the basal platform. No securely established forerunners of Triadic Groups are known, but they may have developed from the eastern range building of E-Group complexes. The triadic form was the predominant architectural form in the Petén region during the Late Preclassic. Examples of triadic pyramids are known from as many as 88 archaeological sites. At Nakbe, there are at least a dozen examples of triadic complexes and the four largest structures in the city are triadic in nature. At El Mirador there are probably as many as 36 triadic structures. Examples of the triadic form are even known from Dzibilchaltun in the far north of the Yucatán Peninsula, and Qʼumarkaj in the Highlands of Guatemala. The triadic pyramid remained a popular architectural form for centuries after the first examples were built; it continued in use into the Classic Period, with later examples being found at Uaxactun, Caracol, Seibal, Nakum, Tikal and Palenque. The Qʼumarkaj example is the only one that has been dated to the Postclassic Period. The triple-temple form of the triadic pyramid appears to be related to Maya mythology.
Ballcourts
The ballcourt is a distinctive pan-Mesoamerican form of architecture. Although the majority of Maya ballcourts date to the Classic period, the earliest examples appeared around 1000 BC in northwestern Yucatán, during the Middle Preclassic. By the time of Spanish contact, ballcourts were only in use in the Guatemalan Highlands, at cities such as Qʼumarkaj and Iximche. Throughout Maya history, ballcourts maintained a characteristic form consisting of an ɪ shape, with a central playing area terminating in two transverse end zones. The central playing area usually measures between long, and is flanked by two lateral structures that stood up to high. The lateral platforms often supported structures that may have held privileged spectators. The Great Ballcourt at Chichen Itza is the largest in Mesoamerica, measuring long by wide, with walls standing high.
Regional architectural styles
Although Maya cities shared many common features, there was considerable variation in architectural style. Such styles were influenced by locally available construction materials, climate, topography, and local preferences. In the Late Classic, these local differences developed into distinctive regional architectural styles.
Central Petén
The central Petén style of architecture is modelled after the great city of Tikal. The style is characterised by tall pyramids supporting a summit shrine adorned with a roof comb, and accessed by a single doorway. Additional features are the use of stela-altar pairings, and the decoration of architectural façades, lintels, and roof combs with relief sculptures of rulers and gods. One of the finest examples of Central Petén style architecture is Tikal Temple I. Examples of sites in the Central Petén style include Altun Ha, Calakmul, Holmul, Ixkun, Nakum, Naranjo, and Yaxhá.
Puuc
The exemplar of Puuc-style architecture is Uxmal. The style developed in the Puuc Hills of northwestern Yucatán; during the Terminal Classic it spread beyond this core region across the northern Yucatán Peninsula. Puuc sites replaced rubble cores with lime cement, resulting in stronger walls, and also strengthened their corbel arches; this allowed Puuc-style cities to build freestanding entrance archways. The upper façades of buildings were decorated with precut stones mosaic-fashion, erected as facing over the core, forming elaborate compositions of long-nosed deities such as the rain god Chaac and the Principal Bird Deity. The motifs also included geometric patterns, lattices and spools, possibly influenced by styles from highland Oaxaca, outside the Maya area. In contrast, the lower façades were left undecorated. Roof combs were relatively uncommon at Puuc sites.
Chenes
The Chenes style is very similar to the Puuc style, but predates the use of the mosaic façades of the Puuc region. It featured fully adorned façades on both the upper and lower sections of structures. Some doorways were surrounded by mosaic masks of monsters representing mountain or sky deities, identifying the doorways as entrances to the supernatural realm. Some buildings contained interior stairways that accessed different levels. The Chenes style is most commonly encountered in the southern portion of the Yucatán Peninsula, although individual buildings in the style can be found elsewhere in the peninsula. Examples of Chenes sites include Dzibilnocac, Hochob, Santa Rosa Xtampak, and Tabasqueño.
Río Bec
The Río Bec style forms a sub-region of the Chenes style, and also features elements of the Central Petén style, such as prominent roof combs. Its palaces are distinctive for their false-tower decorations, lacking interior rooms, with steep, almost vertical, stairways and false doors. These towers were adorned with deity masks, and were built to impress the viewer, rather than serve any practical function. Such false towers are only found in the Río Bec region. Río Bec sites include Chicanná, Hormiguero, and Xpuhil.
Usumacinta
The Usumacinta style developed in the hilly terrain of the Usumacinta drainage. Cities took advantage of the hillsides to support their major architecture, as at Palenque and Yaxchilan. Sites modified corbel vaulting to allow thinner walls and multiple access doors to temples. As in Petén, roof combs adorned principal structures. Palaces had multiple entrances that used post-and-lintel entrances rather than corbel vaulting. Many sites erected stelae, but Palenque instead developed finely sculpted panelling to decorate its buildings.
Language
Before 2000 BC, the Maya spoke a single language, dubbed proto-Mayan by linguists. Linguistic analysis of reconstructed Proto-Mayan vocabulary suggests that the original Proto-Mayan homeland was in the western or northern Guatemalan Highlands, although the evidence is not conclusive. Proto-Mayan diverged during the Preclassic period to form the major Mayan language groups that make up the family, including Huastecan, Greater Kʼicheʼan, Greater Qʼanjobalan, Mamean, Tzʼeltalan-Chʼolan, and Yucatecan. These groups diverged further during the pre-Columbian era to form over 30 languages that have survived into modern times. The language of almost all Classic Maya texts over the entire Maya area has been identified as Chʼolan; Late Preclassic text from Kaminaljuyu, in the highlands, also appears to be in, or related to, Chʼolan. The use of Chʼolan as the language of Maya text does not necessarily indicate that it was the language commonly used by the local populace – it may have been equivalent to Medieval Latin as a ritual or prestige language. Classic Chʼolan may have been the prestige language of the Classic Maya elite, used in inter-polity communication such as diplomacy and trade. By the Postclassic period, Yucatec was also being written in Maya codices alongside Chʼolan.
Writing and literacy
The Maya writing system is one of the outstanding achievements of the pre-Columbian inhabitants of the Americas. It was the most sophisticated and highly developed writing system of more than a dozen systems that developed in Mesoamerica. The earliest inscriptions in an identifiably Maya script date back to 300–200 BC, in the Petén Basin. However, this is preceded by several other Mesoamerican writing systems, such as the Epi-Olmec and Zapotec scripts. Early Maya script had appeared on the Pacific coast of Guatemala by the late 1st century AD, or early 2nd century. Similarities between the Isthmian script and Early Maya script of the Pacific coast suggest that the two systems developed in tandem. By about AD 250, the Maya script had become a more formalised and consistent writing system.
The Catholic Church and colonial officials, notably Bishop Diego de Landa, destroyed Maya texts wherever they found them, and with them the knowledge of Maya writing, but by chance three uncontested pre-Columbian books dated to the Postclassic period have been preserved. These are known as the Madrid Codex, the Dresden Codex and the Paris Codex. A few pages survive from a fourth, the Grolier Codex, whose authenticity is disputed. Archaeology conducted at Maya sites often reveals other fragments, rectangular lumps of plaster and paint chips which were codices; these tantalizing remains are, however, too severely damaged for any inscriptions to have survived, most of the organic material having decayed. In reference to the few extant Maya writings, Michael D. Coe stated:
Most surviving pre-Columbian Maya writing dates to the Classic period and is contained in stone inscriptions from Maya sites, such as stelae, or on ceramics vessels. Other media include the aforementioned codices, stucco façades, frescoes, wooden lintels, cave walls, and portable artefacts crafted from a variety of materials, including bone, shell, obsidian, and jade.
Writing system
The Maya writing system (often called hieroglyphs from a superficial resemblance to Ancient Egyptian writing) is a logosyllabic writing system, combining a syllabary of phonetic signs representing syllables with logogram representing entire words.Tanaka 2008, pp. 30, 53. Among the writing systems of the Pre-Columbian New World, Maya script most closely represents the spoken language. At any one time, no more than around 500 glyphs were in use, some 200 of which (including variations) were phonetic.
The Maya script was in use up to the arrival of the Europeans, its use peaking during the Classic Period. In excess of 10,000 individual texts have been recovered, mostly inscribed on stone monuments, lintels, stelae and ceramics. The Maya also produced texts painted on a form of paper manufactured from processed tree-bark generally now known by its Nahuatl-language name amatl used to produce codices.Tobin 2001. The skill and knowledge of Maya writing persisted among segments of the population right up to the Spanish conquest. The knowledge was subsequently lost, as a result of the impact of the conquest on Maya society.
The decipherment and recovery of the knowledge of Maya writing has been a long and laborious process. Some elements were first deciphered in the late 19th and early 20th century, mostly the parts having to do with numbers, the Maya calendar, and astronomy. Major breakthroughs were made from the 1950s to 1970s, and accelerated rapidly thereafter. By the end of the 20th century, scholars were able to read the majority of Maya texts, and ongoing work continues to further illuminate the content.Kettunen & Helmke 2014, p. 9.
Logosyllabic script
The basic unit of Maya logosyllabic text is the glyph block, which transcribes a word or phrase. The block is composed of one or more individual glyphs attached to each other to form the glyph block, with individual glyph blocks generally being separated by a space. Glyph blocks are usually arranged in a grid pattern. For ease of reference, epigraphers refer to glyph blocks from left to right alphabetically, and top to bottom numerically. Thus, any glyph block in a piece of text can be identified. C4 would be third block counting from the left, and the fourth block counting downwards. If a monument or artefact has more than one inscription, column labels are not repeated, rather they continue in the alphabetic series; if there are more than 26 columns, the labelling continues as A', B', etc. Numeric row labels restart from 1 for each discrete unit of text.
Although Mayan text may be laid out in varying manners, generally it is arranged into double columns of glyph blocks. The reading order of text starts at the top left (block A1), continues to the second block in the double-column (B1), then drops down a row and starts again from the left half of the double column (A2), and thus continues in zig-zag fashion. Once the bottom is reached, the inscription continues from the top left of the next double column. Where an inscription ends in a single (unpaired) column, this final column is usually read straight downwards.
Individual glyph blocks may be composed of a number of elements. These consist of the main sign, and any affixes. Main signs represent the major element of the block, and may be a noun, verb, adverb, adjective, or phonetic sign. Some main signs are abstract, some are pictures of the object they represent, and others are "head variants", personifications of the word they represent. Affixes are smaller rectangular elements, usually attached to a main sign, although a block may be composed entirely of affixes. Affixes may represent a wide variety of speech elements, including nouns, verbs, verbal suffixes, prepositions, pronouns, and more. Small sections of a main sign could be used to represent the whole main sign, and Maya scribes were highly inventive in their usage and adaptation of glyph elements.
Writing tools
Although the archaeological record does not provide examples of brushes or pens, analysis of ink strokes on the Postclassic codices suggests that it was applied with a brush with a tip fashioned from pliable hair. A Classic period sculpture from Copán, Honduras, depicts a scribe with an inkpot fashioned from a conch shell. Excavations at Aguateca uncovered a number of scribal artefacts from the residences of elite status scribes, including palettes and mortars and pestles.
Scribes and literacy
Commoners were illiterate; scribes were drawn from the elite. It is not known if all members of the aristocracy could read and write, although at least some women could, since there are representations of female scribes in Maya art. Maya scribes were called aj tzʼib, meaning "one who writes or paints". There were probably scribal schools where members of the aristocracy were taught to write. Scribal activity is identifiable in the archaeological record; Jasaw Chan Kʼawiil I, king of Tikal, was interred with his paint pot. Some junior members of the Copán royal dynasty have also been found buried with their writing implements. A palace at Copán has been identified as that of a noble lineage of scribes; it is decorated with sculpture that includes figures holding ink pots.
Although not much is known about Maya scribes, some did sign their work, both on ceramics and on stone sculpture. Usually, only a single scribe signed a ceramic vessel, but multiple sculptors are known to have recorded their names on stone sculpture; eight sculptors signed one stela at Piedras Negras. However, most works remained unsigned by their artists.
Mathematics
In common with the other Mesoamerican civilizations, the Maya used a base 20 (vigesimal) system. The bar-and-dot counting system that is the base of Maya numerals was in use in Mesoamerica by 1000 BC; the Maya adopted it by the Late Preclassic, and added the symbol for zero. This may have been the earliest known occurrence of the idea of an explicit zero worldwide, although it may have been predated by the Babylonian system. The earliest explicit use of zero occurred on monuments dated to 357 AD. In its earliest uses, the zero served as a place holder, indicating an absence of a particular calendrical count. This later developed into a numeral that was used to perform calculation, and was used in hieroglyphic texts for more than a thousand years, until the writing system was extinguished by the Spanish.
The basic number system consists of a dot to represent one, and a bar to represent five. By the Postclassic period a shell symbol represented zero; during the Classic period other glyphs were used. The Maya numerals from 0 to 19 used repetitions of these symbols. The value of a numeral was determined by its position; as a numeral shifted upwards, its basic value multiplied by twenty. In this way, the lowest symbol would represent units, the next symbol up would represent multiples of twenty, and the symbol above that would represent multiples of 400, and so on. For example, the number 884 would be written with four dots on the lowest level, four dots on the next level up, and two dots on the next level after that, to give 4×1 + 4×20 + 2×400 = 884. Using this system, the Maya were able to record huge numbers. Simple addition could be performed by summing the dots and bars in two columns to give the result in a third column.
Calendar
The Maya calendrical system, in common with other Mesoamerican calendars, had its origins in the Preclassic period. However, it was the Maya that developed the calendar to its maximum sophistication, recording lunar and solar cycles, eclipses and movements of planets with great accuracy. In some cases, the Maya calculations were more accurate than equivalent calculations in the Old World; for example, the Maya solar year was calculated to greater accuracy than the Julian year. The Maya calendar was intrinsically tied to Maya ritual, and it was central to Maya religious practices. The calendar combined a non-repeating Long Count with three interlocking cycles, each measuring a progressively larger period. These were the 260-day tzolkʼin, the 365-day haabʼ, and the 52-year Calendar Round, resulting from the combination of the tzolkʼin with the haab'. There were also additional calendric cycles, such as an 819-day cycle associated with the four quadrants of Maya cosmology, governed by four different aspects of the god Kʼawiil.
The basic unit in the Maya calendar was one day, or kʼin, and 20 kʼin grouped to form a winal. The next unit, instead of being multiplied by 20, as called for by the vigesimal system, was multiplied by 18 in order to provide a rough approximation of the solar year (hence producing 360 days). This 360-day year was called a tun. Each succeeding level of multiplication followed the vigesimal system.
The 260-day tzolkʼin provided the basic cycle of Maya ceremony, and the foundations of Maya prophecy. No astronomical basis for this count has been proved, and it may be that the 260-day count is based on the human gestation period. This is reinforced by the use of the tzolkʼin to record dates of birth, and provide corresponding prophecy. The 260-day cycle repeated a series of 20-day-names, with a number from 1 to 13 prefixed to indicated where in the cycle a particular day occurred.
The 365-day haab was produced by a cycle of eighteen named 20-day winals, completed by the addition of a 5-day period called the wayeb. The wayeb was considered to be a dangerous time, when the barriers between the mortal and supernatural realms were broken, allowing malignant deities to cross over and interfere in human concerns. In a similar way to the tzʼolkin, the named winal would be prefixed by a number (from 0 to 19), in the case of the shorter wayeb period, the prefix numbers ran 0 to 4. Since each day in the tzʼolkin had a name and number (e.g. 8 Ajaw), this would interlock with the haab, producing an additional number and name, to give any day a more complete designation, for example 8 Ajaw 13 Keh. Such a day name could only recur once every 52 years, and this period is referred to by Mayanists as the Calendar Round. In most Mesoamerican cultures, the Calendar Round was the largest unit for measuring time.
As with any non-repeating calendar, the Maya measured time from a fixed start point. The Maya set the beginning of their calendar as the end of a previous cycle of bakʼtuns, equivalent to a day in 3114 BC. This was believed by the Maya to be the day of the creation of the world in its current form. The Maya used the Long Count Calendar to fix any given day of the Calendar Round within their current great Piktun cycle consisting of either 20 bakʼtuns. There was some variation in the calendar, specifically texts in Palenque demonstrate that the piktun cycle that ended in 3114 BC had only 13 bakʼtuns, but others used a cycle of 13 + 20 bakʼtun in the current piktun. Additionally, there may have been some regional variation in how these exceptional cycles were managed.
A full long count date consisted of an introductory glyph followed by five glyphs counting off the number of bakʼtuns, katʼuns, tuns, winals, and kʼins since the start of the current creation. This would be followed by the tzʼolkin portion of the Calendar Round date, and after a number of intervening glyphs, the Long Count date would end with the Haab portion of the Calendar Round date.
Correlation of the Long Count calendar
Although the Calendar Round is still in use today, the Maya started using an abbreviated Short Count during the Late Classic period. The Short Count is a count of 13 kʼatuns. The Book of Chilam Balam of Chumayel contains the only colonial reference to classic long-count dates. The most generally accepted correlation is the Goodman-Martínez-Thompson, or GMT, correlation. This equates the Long Count date 11.16.0.0.0 13 Ajaw 8 Xul with the Gregorian date of 12 November 1539. Epigraphers Simon Martin and Nikolai Grube argue for a two-day shift from the standard GMT correlation. The Spinden Correlation would shift the Long Count dates back by 260 years; it also accords with the documentary evidence, and is better suited to the archaeology of the Yucatán Peninsula, but presents problems with the rest of the Maya region. The George Vaillant Correlation would shift all Maya dates 260 years later, and would greatly shorten the Postclassic period. Radiocarbon dating of dated wooden lintels at Tikal supports the GMT correlation.
Astronomy
The Maya made meticulous observations of celestial bodies, patiently recording astronomical data on the movements of the sun, moon, Venus, and the stars. This information was used for divination, so Maya astronomy was essentially for astrological purposes. Although Maya astronomy was mainly used by the priesthood to comprehend past cycles of time, and project them into the future to produce prophecy, it also had some practical applications, such as providing aid in crop planting and harvesting. The priesthood refined observations and recorded eclipses of the sun and moon, and movements of Venus and the stars; these were measured against dated events in the past, on the assumption that similar events would occur in the future when the same astronomical conditions prevailed. Illustrations in the codices show that priests made astronomical observations using the naked eye, assisted by crossed sticks as a sighting device. Analysis of the few remaining Postclassic codices has revealed that, at the time of European contact, the Maya had recorded eclipse tables, calendars, and astronomical knowledge that was more accurate at that time than comparable knowledge in Europe.
The Maya measured the 584-day Venus cycle with an error of just two hours. Five cycles of Venus equated to eight 365-day haab calendrical cycles, and this period was recorded in the codices. The Maya also followed the movements of Jupiter, Mars and Mercury. When Venus rose as the Morning Star, this was associated with the rebirth of the Maya Hero Twins. For the Maya, the heliacal rising of Venus was associated with destruction and upheaval. Venus was closely associated with warfare, and the hieroglyph meaning "war" incorporated the glyph-element symbolizing the planet. Sight-lines through the windows of the Caracol building at Chichen Itza align with the northernmost and southernmost extremes of Venus' path. Maya rulers launched military campaigns to coincide with the heliacal or cosmical rising of Venus, and would also sacrifice important captives to coincide with such conjunctions.
Solar and lunar eclipses were considered to be especially dangerous events that could bring catastrophe upon the world. In the Dresden Codex, a solar eclipse is represented by a serpent devouring the kʼin ("day") hieroglyph. Eclipses were interpreted as the sun or moon being bitten, and lunar tables were recorded in order that the Maya might be able to predict them, and perform the appropriate ceremonies to ward off disaster.
Religion and mythology
In common with the rest of Mesoamerica, the Maya believed in a supernatural realm inhabited by an array of powerful deities who needed to be placated with ceremonial offerings and ritual practices. At the core of Maya religious practice was the worship of deceased ancestors, who would intercede for their living descendants in dealings with the supernatural realm. The earliest intermediaries between humans and the supernatural were shamans. Maya ritual included the use of hallucinogens for chilan, oracular priests. Visions for the chilan were likely facilitated by consumption of water lilies, which are hallucinogenic in high doses. As the Maya civilization developed, the ruling elite codified the Maya world view into religious cults that justified their right to rule. In the Late Preclassic, this process culminated in the institution of the divine king, the kʼuhul ajaw, endowed with ultimate political and religious power.
The Maya viewed the cosmos as highly structured. There were thirteen levels in the heavens and nine in the underworld, with the mortal world in between. Each level had four cardinal directions associated with a different colour; north was white, east was red, south was yellow, and west was black. Major deities had aspects associated with these directions and colours.
Maya households interred their dead underneath the floors, with offerings appropriate to the social status of the family. There the dead could act as protective ancestors. Maya lineages were patrilineal, so the worship of a prominent male ancestor would be emphasised, often with a household shrine. As Maya society developed, and the elite became more powerful, Maya royalty developed their household shrines into the great pyramids that held the tombs of their ancestors.
Belief in supernatural forces pervaded Maya life and influenced every aspect of it, from the simplest day-to-day activities such as food preparation, to trade, politics, and elite activities. Maya deities governed all aspects of the world, both visible and invisible. The Maya priesthood was a closed group, drawing its members from the established elite; by the Early Classic they were recording increasingly complex ritual information in their hieroglyphic books, including astronomical observations, calendrical cycles, history and mythology. The priests performed public ceremonies that incorporated feasting, bloodletting, incense burning, music, ritual dance, and, on certain occasions, human sacrifice. During the Classic period, the Maya ruler was the high priest, and the direct conduit between mortals and the gods. It is highly likely that, among commoners, shamanism continued in parallel to state religion. By the Postclassic, religious emphasis had changed; there was an increase in worship of the images of deities, and more frequent recourse to human sacrifice.
Archaeologists painstakingly reconstruct these ritual practices and beliefs using several techniques. One important, though incomplete, resource is physical evidence, such as dedicatory caches and other ritual deposits, shrines, and burials with their associated funerary offerings. Maya art, architecture, and writing are another resource, and these can be combined with ethnographic sources, including records of Maya religious practices made by the Spanish during the conquest.
Human sacrifice
Blood was viewed as a potent source of nourishment for the Maya deities, and the sacrifice of a living creature was a powerful blood offering. By extension, the sacrifice of a human life was the ultimate offering of blood to the gods, and the most important Maya rituals culminated in human sacrifice. Generally only high status prisoners of war were sacrificed, with lower status captives being used for labour.
Important rituals such as the dedication of major building projects or the enthronement of a new ruler required a human offering. The sacrifice of an enemy king was the most prized, and such a sacrifice involved decapitation of the captive ruler, perhaps in a ritual reenactment of the decapitation of the Maya maize god by the death gods. In AD 738, the vassal king Kʼakʼ Tiliw Chan Yopaat of Quiriguá captured his overlord, Uaxaclajuun Ubʼaah Kʼawiil of Copán and a few days later ritually decapitated him. Sacrifice by decapitation is depicted in Classic period Maya art, and sometimes took place after the victim was tortured, being variously beaten, scalped, burnt or disembowelled. Another myth associated with decapitation was that of the Hero Twins recounted in the Popol Vuh: playing a ballgame against the gods of the underworld, the heroes achieved victory, but one of each pair of twins was decapitated by their opponents.
During the Postclassic period, the most common form of human sacrifice was heart extraction, influenced by the rites of the Aztecs in the Valley of Mexico; this usually took place in the courtyard of a temple, or upon the summit of the pyramid. In one ritual, the corpse would be skinned by assistant priests, except for the hands and feet, and the officiating priest would then dress himself in the skin of the sacrificial victim and perform a ritual dance symbolizing the rebirth of life. Archaeological investigations indicate that heart sacrifice was practised as early as the Classic period.
Deities
The Maya world was populated by a great variety of deities, supernatural entities and sacred forces. The Maya had such a broad interpretation of the sacred that identifying distinct deities with specific functions is inaccurate. The Maya interpretation of deities was closely tied to the calendar, astronomy, and their cosmology. The importance of a deity, its characteristics, and its associations varied according to the movement of celestial bodies. The priestly interpretation of astronomical records and books was therefore crucial, since the priest would understand which deity required ritual propitiation, when the correct ceremonies should be performed, and what would be an appropriate offering. Each deity had four manifestations, associated with the cardinal directions, each identified with a different colour. They also had a dual day-night/life-death aspect.
Itzamna was the creator god, but he also embodied the cosmos, and was simultaneously a sun god; Kʼinich Ahau, the day sun, was one of his aspects. Maya kings frequently identified themselves with Kʼinich Ahau. Itzamna also had a night sun aspect, the Night Jaguar, representing the sun in its journey through the underworld. The four Pawatuns supported the corners of the mortal realm; in the heavens, the Bacabs performed the same function. As well as their four main aspects, the Bakabs had dozens of other aspects that are not well understood. The four Chaacs were storm gods, controlling thunder, lightning, and the rains. The nine lords of the night each governed one of the underworld realms. Other important deities included the moon goddess, the maize god, and the Hero Twins.
The Popol Vuh was written in the Latin script in early colonial times, and was probably transcribed from a hieroglyphic book by an unknown Kʼicheʼ Maya nobleman. It is one of the most outstanding works of indigenous literature in the Americas. The Popul Vuh recounts the mythical creation of the world, the legend of the Hero Twins, and the history of the Postclassic Kʼicheʼ kingdom. Deities recorded in the Popul Vuh include Hun Hunahpu, believed by some to be the Kʼicheʼ maize god, and a triad of deities led by the Kʼicheʼ patron Tohil, and also including the moon goddess Awilix, and the mountain god Jacawitz.
In common with other Mesoamerican cultures, the Maya worshipped feathered serpent deities. Such worship was rare during the Classic period, but by the Postclassic the feathered serpent had spread to both the Yucatán Peninsula and the Guatemalan Highlands. In Yucatán, the feathered serpent deity was Kukulkan, among the Kʼicheʼ it was Qʼuqʼumatz. Kukulkan had his origins in the Classic period War Serpent, Waxaklahun Ubah Kan'', and has also been identified as the Postclassic version of the Vision Serpent of Classic Maya art. Although the cult of Kukulkan had its origins in these earlier Maya traditions, the worship of Kukulkan was heavily influenced by the Quetzalcoatl cult of central Mexico. Likewise, Qʼuqʼumatz had a composite origin, combining the attributes of Mexican Quetzalcoatl with aspects of the Classic period Itzamna.
Agriculture
The ancient Maya had diverse and sophisticated methods of food production. It was believed that shifting cultivation (swidden) agriculture provided most of their food, but it is now thought that permanent raised fields, terracing, intensive gardening, forest gardens, and managed fallows were also crucial to supporting the large populations of the Classic period in some areas. Indeed, evidence of these different agricultural systems persist today: raised fields connected by canals can be seen on aerial photographs. Contemporary rainforest species composition has significantly higher abundance of species of economic value to ancient Maya in areas that were densely populated in pre-Columbian times, and pollen records in lake sediments suggest that maize, manioc, sunflower seeds, cotton, and other crops have been cultivated in association with deforestation in Mesoamerica since at least 2500 BC.
The basic staples of the Maya diet were maize, beans, and squashes. These were supplemented with a wide variety of other plants either cultivated in gardens or gathered in the forest. At Joya de Cerén, a volcanic eruption preserved a record of foodstuffs stored in Maya homes, among them were chilies and tomatoes. Cotton seeds were in the process of being ground, perhaps to produce cooking oil. In addition to basic foodstuffs, the Maya also cultivated prestige crops such as cotton, cacao and vanilla. Cacao was especially prized by the elite, who consumed chocolate beverages. Cotton was spun, dyed, and woven into valuable textiles in order to be traded.
The Maya had few domestic animals; dogs were domesticated by 3000 BC, and the Muscovy duck by the Late Postclassic. Ocellated turkeys were unsuitable for domestication, but were rounded up in the wild and penned for fattening. All of these were used as food animals; dogs were additionally used for hunting. It is possible that deer were also penned and fattened.
Maya sites
There are hundreds of Maya sites spread across five countries: Belize, El Salvador, Guatemala, Honduras and Mexico.
The six sites with particularly outstanding architecture or sculpture are Chichen Itza, Palenque, Uxmal, and Yaxchilan in Mexico, Tikal in Guatemala and Copán in Honduras. Other important, but difficult to reach, sites include Calakmul and El Mirador. The principal sites in the Puuc region, after Uxmal, are Kabah, Labna, and Sayil. In the east of the Yucatán Peninsula are Coba and the small site of Tulum. The Río Bec sites of the base of the peninsula include Becan, Chicanná, Kohunlich, and Xpuhil. The most noteworthy sites in Chiapas, other than Palenque and Yaxchilan, are Bonampak and Toniná. In the Guatemalan Highlands are Iximche, Kaminaljuyu, Mixco Viejo, and Qʼumarkaj (also known as Utatlán). In the northern Petén lowlands of Guatemala there are many sites, though apart from Tikal access is generally difficult. Some of the Petén sites are Dos Pilas, Seibal, and Uaxactún. Important sites in Belize include Altun Ha, Caracol, and Xunantunich.
Museum collections
There are many museums across the world with Maya artefacts in their collections. The Foundation for the Advancement of Mesoamerican Studies lists over 250 museums in its Maya Museum database, and the European Association of Mayanists lists just under 50 museums in Europe alone.
See also
Entheogenics and the Maya
Huastec civilization
Index of Mexico-related articles
Songs of Dzitbalche
References
Bibliography
Alt URL
Full list from FAMSI archived from the original on 2015-06-08.
Further reading
External links
Foundation for the Advancement of Mesoamerican Studies, Inc. (FAMSI)
Primary sources of Maya history – part one by Ronald A. Barnett
Mesoweb by Joel Skidmore.
Maya Map – A map of the Maya civilization.
Former monarchies of North America
History of Guatemala
History of Belize
History of Chiapas
History of El Salvador
History of Honduras
2nd-millennium BC establishments
1697 disestablishments in North America
Former countries in North America
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"Carl Johan Calleman, (born 15 May 1950, Stockholm, Sweden), is a toxicologist as well as an author and speaker on the millenarian New Age interpretation of the Mayan calendar known as Mayanism. He differs from professional Mayanists in seeing 28 October 2011 and not 21 December 2012 as a significant date. Calleman does not interpret the date as an apocalypse, Armageddon, or other cataclysmic event but a slow transformation of consciousness in which people experience a higher \"unity consciousness.\"\n\nLife\nCalleman studied toxicology at the University of Stockholm in Sweden.\n He has had no professional training in archaeology or the study of the ancient Maya.\n\nHe first encountered the Mayan calendar on a visit to Mexico and Guatemala in 1979. He became fascinated with the concept of a calendar that had an \"end date\" and was influenced by the works of Michael D. Coe.\n\nIn 1986 he took a post at the Department of Environmental Health at the University of Washington in Seattle as a cancer researcher. As a result of work done in that post and in China he was appointed as an expert for the World Health Organization on cancer.\n\nIn 1993 he returned to Sweden and devoted himself full-time to researching and writing about the calendar. He published a short book in Swedish on the subject in 1994, Mayahypotesen. In 1998 he was invited to be one of the main speakers at a conference about the Mayan calendar in Mérida, Yucatán. This inspired him to write a more widely accessible book, The Mayan Calendar published in 2001. A second popular book The Mayan Calendar and the Transformation of Consciousness followed in 2004, and a third Purposeful Universe: How Quantum Theory and Mayan Cosmology Explain the Origin and Evolution of Life in 2009.\n\nHe lives in Orsa, Sweden and lectures worldwide.\n\nBeliefs\nCalleman's beliefs differ from other interpreters of the Mayan calendar and the 2012 phenomenon in that he sees the crucial date for change as 28 October 2011—not 21 December 2012—which he postulates will see the culmination of a series of nine waves of increasing frequency which have influenced, and continue to influence, the development and evolution of both the physical universe and human consciousness. His ideas represent a revival of theories of unilineal evolution.\n\nCalleman disagrees that 2012 represents the point of an alignment between the Earth's solstice and the galactic centre which he says would be a purely local phenomenon unique to the Earth and which in any case already occurred in 1998. Instead he sees the Mayan calendar as describing the creation process of the whole Universe.\n\nWithin the logic of the Mayan Long Count, he says, an auspicious end would have to be on a day which is 13 Ahau in the tzolkin count. Since 21 December 2012 falls on 4 Ahau this is an unlikely end date. The 28 October 2011 is a 13 Ahau date.\n\nBeginning with the Big Bang he believes creation has continued through a series of waves, each one a factor of 20 times shorter in duration than the one preceding it. Each wave has driven the structure of the universe to a higher level.\nThe first wave drove the creation of physical matter, the second living cells, the third multicellular life, the fourth organisms living in family groups, the fifth, saw humans in tribal groups, and the sixth in national groups. The seventh wave encompasses human awareness of the whole planet, and the eighth awareness of our place in the galactic structure. The final wave, the ninth and shortest of all, began on 8 March 2011 and will complete along with all the others on 28 October 2011 sees awareness of the whole of the cosmos achieved. Rather than the series ending with an Apocalypse he describes it as the completion of the creation process of the Universe. The way will then be open to the full realisation of consciousness at its highest level which he terms \"Unity consciousness\".\n\nReferences\n\nBibliography\n Mayahypotesen – Svenskarnas roll för Gaias födelse år 2012, (Maya hypothesis – Swedes' role in Gaia's birth in 2012), Carl Johan Calleman (1994). (Available in pdf in Swedish)\nThe Mayan Calendar: Solving the Greatest Mystery of Our Time, Carl Johan Calleman, Garev Publishing International (2001) \nThe Mayan Calendar and the Transformation of Consciousness, Carl Johan Calleman, Bear & Company (2004). \nPurposeful Universe: How Quantum Theory and Mayan Cosmology Explain the Origin and Evolution of Life, Carl Johan Calleman, Bear & Company (2009). \nThe Global Mind and the Rise of Civilization: The Quantum Evolution of Consciousness, 2016, Bear & Company, \nThe Nine Waves of Creation: Quantum Physics, Holographic Evolution, and the Destiny of Humanity, 2016, Bear & Company, \nQuantum Science of Psychedelics: The Pineal Gland, Multidimensional Reality, and Mayan Cosmology, 2020, Bear & Company,\n\nExternal links\n Carl Johan Calleman - The Mayan Calendar Official website\n\n1950 births\n2012 phenomenon believers\nLiving people\nNew Age writers\nPseudohistorians\nSwedish male writers",
"The Mayan Theater in Los Angeles, California is a landmark former movie palace and current nightclub and music venue.\n\nHistory\nThe Mayan Theater opened in August 1927 as a performance arts theater.\n\nLeon Hefflin Sr. rented out the Mayan Theater downtown Los Angeles to produce the Sweet N' Hot, \"Greatest Negro All Star Musical to Hit Coast.\" His business partner was Curtis Mosby, and the featured performer was Dorothy Dandridge. The show had a run of eleven weeks and was reported as going to New York. It closed to rave reviews and was covered by 20 different newspapers all over the country.\n\nFrom 1971 to 1989, the theater was owned by pornographic filmmaker Carlos Tobalina. In the 1980s, the theater showed pornographic films.\n\nThe theater has been a location in many films, including Sally of the Scandals, The Bodyguard, Save the Tiger, Unlawful Entry, Rock 'n' Roll High School, and A Night at the Roxbury. It also featured in the eighth episode of the first season of GLOW.\n\nIn 1990, the Mayan Theater, with most of its lavish ornament intact, became a nightclub and music venue. It is designated as a Historic Cultural Monument.\n\nIn 2022, Daft Punk also streamed a video recording of a show at the Mayan Theater in Los Angeles from their 1997 Daftendirektour.\n\nArchitecture and design\nDesigned by Stiles O. Clements of Morgan, Walls & Clements, the façade of the Mayan Theater includes stylized pre-Columbian patterns and figures designed by sculptor Francisco Cornejo. This was his major work.\n\nThe Mayan Theater is a prototypical example of the many ornate exotic revival-style theaters of the late 1920s, Mayan Revival in this case. The well-preserved lobby is called \"The Hall of Feathered Serpents,\" the auditorium includes a chandelier based on the Aztec calendar stone, and the original fire curtain included images of Mayan jungles and temples.\n\nGallery\n\nSee also\nList of Los Angeles Historic-Cultural Monuments in Downtown Los Angeles\n\nReferences\n\nExternal links\n\n \n\nMovie palaces\nAdult movie theaters\nCinemas and movie theaters in Los Angeles\nMusic venues in Los Angeles\nTheatres in Los Angeles\nBuildings and structures in Downtown Los Angeles\nLos Angeles Historic-Cultural Monuments\nTheatres completed in 1927\n1927 establishments in California\nMorgan, Walls & Clements buildings\nMayan Revival architecture"
] |
[
"Maya civilization",
"Postclassic period (c. 950-1539 AD)",
"Were there any explorers in the Mayan region during this time?",
"I don't know.",
"What was a notable event during this time period?",
"The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America.",
"What were the origins of the Mayan culture?",
"By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies.",
"Which crops did they raise?",
"The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes.",
"When was the Mayan Calendar developed?",
"I don't know."
] |
C_f3af675fc9294dec9e5f837a1620ba95_1
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What else did they develop during this time?
| 6 |
What else in addition to the calendar did the Mayans develop during the Postclassic period??
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Maya civilization
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The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America. Mesoamerica was one of six cradles of civilization worldwide. The Mesoamerican area gave rise to a series of cultural developments that included complex societies, agriculture, cities, monumental architecture, writing, and calendrical systems. The set of traits shared by Mesoamerican cultures also included astronomical knowledge, blood and human sacrifice, and a cosmovision that viewed the world as divided into four divisions aligned with the cardinal directions, each with different attributes, and a three-way division of the world into the celestial realm, the earth, and the underworld. By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies. The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes. All Mesoamerican cultures used Stone Age technology; after c. 1000 AD copper, silver and gold were worked. Mesoamerica lacked draft animals, did not use the wheel, and possessed few domesticated animals; the principal means of transport was on foot or by canoe. Mesoamericans viewed the world as hostile and governed by unpredictable deities. The ritual Mesoamerican ballgame was widely played. Mesoamerica is linguistically diverse, with most languages falling within a small number of language families - the major families are Mayan, Mixe-Zoquean, Otomanguean, and Uto-Aztecan; there are also a number of smaller families and isolates. The Mesoamerican language area shares a number of important features, including widespread loanwords, and use of a vigesimal number system. The territory of the Maya covered a third of Mesoamerica, and the Maya were engaged in a dynamic relationship with neighbouring cultures that included the Olmecs, Mixtecs, Teotihuacan, the Aztecs, and others. During the Early Classic period, the Maya cities of Tikal and Kaminaljuyu were key Maya foci in a network that extended beyond the Maya area into the highlands of central Mexico. At around the same time, there was a strong Maya presence at the Tetitla compound of Teotihuacan. Centuries later, during the 9th century AD, murals at Cacaxtla, another site in the central Mexican highlands, were painted in a Maya style. This may have been either an effort to align itself with the still-powerful Maya area after the collapse of Teotihuacan and ensuing political fragmentation in the Mexican Highlands, or an attempt to express a distant Maya origin of the inhabitants. The Maya city of Chichen Itza and the distant Toltec capital of Tula had an especially close relationship. The Maya developed their first civilization in the Preclassic period. Scholars continue to discuss when this era of Maya civilization began. Maya occupation at Cuello (modern-day Belize) has been carbon dated to around 2600 BC. Settlements were established around 1800 BC in the Soconusco region of the Pacific coast, and the Maya were already cultivating the staple crops of maize, beans, squash, and chili pepper. This period was characterized by sedentary communities and the introduction of pottery and fired clay figurines. During the Middle Preclassic Period, small villages began to grow to form cities. Nakbe in the Peten department of Guatemala is the earliest well-documented city in the Maya lowlands, where large structures have been dated to around 750 BC. The northern lowlands of Yucatan were widely settled by the Middle Preclassic. By approximately 400 BC, early Maya rulers were raising stelae. A developed script was already being used in Peten by the 3rd century BC. In the Late Preclassic Period, the enormous city of El Mirador grew to cover approximately 16 square kilometres (6.2 sq mi). Although not as large, Tikal was already a significant city by around 350 BC. In the highlands, Kaminaljuyu emerged as a principal centre in the Late Preclassic. Takalik Abaj and Chocola were two of the most important cities on the Pacific coastal plain, and Komchen grew to become an important site in northern Yucatan. The Late Preclassic cultural florescence collapsed in the 1st century AD and many of the great Maya cities of the epoch were abandoned; the cause of this collapse is unknown. Although much reduced, a significant Maya presence remained into the Postclassic period after the abandonment of the major Classic period cities; the population was particularly concentrated near permanent water sources. Unlike during previous cycles of contraction in the Maya region, abandoned lands were not quickly resettled in the Postclassic. Activity shifted to the northern lowlands and the Maya Highlands; this may have involved migration from the southern lowlands, because many Postclassic Maya groups had migration myths. Chichen Itza and its Puuc neighbours declined dramatically in the 11th century, and this may represent the final episode of Classic Period collapse. After the decline of Chichen Itza, the Maya region lacked a dominant power until the rise of the city of Mayapan in the 12th century. New cities arose near the Caribbean and Gulf coasts, and new trade networks were formed. The Postclassic Period was marked by changes from the preceding Classic Period. The once-great city of Kaminaljuyu in the Valley of Guatemala was abandoned after continuous occupation of almost 2,000 years. Across the highlands and neighbouring Pacific coast, long-occupied cities in exposed locations were relocated, apparently due to a proliferation of warfare. Cities came to occupy more-easily defended hilltop locations surrounded by deep ravines, with ditch-and-wall defences sometimes supplementing the protection provided by the natural terrain. One of the most important cities in the Guatemalan Highlands at this time was Q'umarkaj, the capital of the aggressive K'iche' kingdom. The government of Maya states, from the Yucatan to the Guatemalan highlands, was often organized as joint rule by a council. However, in practice one member of the council could act as a supreme ruler, while the other members served him as advisors. Mayapan was abandoned around 1448, after a period of political, social and environmental turbulence that in many ways echoed the Classic period collapse in the southern Maya region. The abandonment of the city was followed by a period of prolonged warfare, disease and natural disasters in the Yucatan Peninsula, which ended only shortly before Spanish contact in 1511. Even without a dominant regional capital, the early Spanish explorers reported wealthy coastal cities and thriving marketplaces. During the Late Postclassic, the Yucatan Peninsula was divided into a number of independent provinces that shared a common culture but varied in internal sociopolitical organization. On the eve of the Spanish conquest, the highlands of Guatemala were dominated by several powerful Maya states. The K'iche' had carved out a small empire covering a large part of the western Guatemalan Highlands and the neighbouring Pacific coastal plain. However, in the decades before the Spanish invasion the Kaqchikel kingdom had been steadily eroding the kingdom of the K'iche'. CANNOTANSWER
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During the Middle Preclassic Period, small villages began to grow to form cities.
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The Maya civilization () was a Mesoamerican civilization developed by the Maya peoples, and noted for its logosyllabic script—the most sophisticated and highly developed writing system in pre-Columbian Americas—as well as for its art, architecture, mathematics, calendar, and astronomical system. The Maya civilization developed in the area that today comprises southeastern Mexico, all of Guatemala and Belize, and the western portions of Honduras and El Salvador. It includes the northern lowlands of the Yucatán Peninsula and the highlands of the Sierra Madre, the Mexican state of Chiapas, southern Guatemala, El Salvador, and the southern lowlands of the Pacific littoral plain. "Maya" is a modern term used to refer collectively to the various peoples that inhabited this area. They did not call themselves "Maya" and did not have a sense of common identity or political unity. Today, their descendants, known collectively as the Maya, number well over 6 million individuals, speak more than twenty-eight surviving Mayan languages, and reside in nearly the same area as their ancestors.
The Archaic period, before 2000 BC, saw the first developments in agriculture and the earliest villages. The Preclassic period () saw the establishment of the first complex societies in the Maya region, and the cultivation of the staple crops of the Maya diet, including maize, beans, squashes, and chili peppers. The first Maya cities developed around 750 BC, and by 500 BC these cities possessed monumental architecture, including large temples with elaborate stucco façades. Hieroglyphic writing was being used in the Maya region by the 3rd century BC. In the Late Preclassic a number of large cities developed in the Petén Basin, and the city of Kaminaljuyu rose to prominence in the Guatemalan Highlands. Beginning around 250 AD, the Classic period is largely defined as when the Maya were raising sculpted monuments with Long Count dates. This period saw the Maya civilization develop many city-states linked by a complex trade network. In the Maya Lowlands two great rivals, the cities of Tikal and Calakmul, became powerful. The Classic period also saw the intrusive intervention of the central Mexican city of Teotihuacan in Maya dynastic politics. In the 9th century, there was a widespread political collapse in the central Maya region, resulting in internecine warfare, the abandonment of cities, and a northward shift of population. The Postclassic period saw the rise of Chichen Itza in the north, and the expansion of the aggressive Kʼicheʼ kingdom in the Guatemalan Highlands. In the 16th century, the Spanish Empire colonised the Mesoamerican region, and a lengthy series of campaigns saw the fall of Nojpetén, the last Maya city, in 1697.
Rule during the Classic period centred on the concept of the "divine king", who was thought to act as a mediator between mortals and the supernatural realm. Kingship was patrilineal, and power normally passed to the eldest son. A prospective king was expected to be a successful war leader as well as a ruler. Closed patronage systems were the dominant force in Maya politics, although how patronage affected the political makeup of a kingdom varied from city-state to city-state. By the Late Classic period, the aristocracy had grown in size, reducing the previously exclusive power of the king. The Maya developed sophisticated art forms using both perishable and non-perishable materials, including wood, jade, obsidian, ceramics, sculpted stone monuments, stucco, and finely painted murals.
Maya cities tended to expand organically. The city centers comprised ceremonial and administrative complexes, surrounded by an irregularly shaped sprawl of residential districts. Different parts of a city were often linked by causeways. Architecturally, city buildings included palaces, pyramid-temples, ceremonial ballcourts, and structures specially aligned for astronomical observation. The Maya elite were literate, and developed a complex system of hieroglyphic writing. Theirs was the most advanced writing system in the pre-Columbian Americas. The Maya recorded their history and ritual knowledge in screenfold books, of which only three uncontested examples remain, the rest having been destroyed by the Spanish. In addition, a great many examples of Maya texts can be found on stelae and ceramics. The Maya developed a highly complex series of interlocking ritual calendars, and employed mathematics that included one of the earliest known instances of the explicit zero in human history. As a part of their religion, the Maya practised human sacrifice.
Mesoamerica
The Maya civilization developed within the Mesoamerican cultural area, which covers a region that spreads from northern Mexico southwards into Central America. Mesoamerica was one of six cradles of civilization worldwide. The Mesoamerican area gave rise to a series of cultural developments that included complex societies, agriculture, cities, monumental architecture, writing, and calendrical systems. The set of traits shared by Mesoamerican cultures also included astronomical knowledge, blood and human sacrifice, and a cosmovision that viewed the world as divided into four divisions aligned with the cardinal directions, each with different attributes, and a three-way division of the world into the celestial realm, the earth, and the underworld.
By 6000 BC, the early inhabitants of Mesoamerica were experimenting with the domestication of plants, a process that eventually led to the establishment of sedentary agricultural societies. The diverse climate allowed for wide variation in available crops, but all regions of Mesoamerica cultivated the base crops of maize, beans, and squashes. All Mesoamerican cultures used Stone Age technology; after c. 1000 AD copper, silver and gold were worked. Mesoamerica lacked draft animals, did not use the wheel, and possessed few domesticated animals; the principal means of transport was on foot or by canoe. Mesoamericans viewed the world as hostile and governed by unpredictable deities. The ritual Mesoamerican ballgame was widely played. Mesoamerica is linguistically diverse, with most languages falling within a small number of language families—the major families are Mayan, Mixe–Zoquean, Otomanguean, and Uto-Aztecan; there are also a number of smaller families and isolates. The Mesoamerican language area shares a number of important features, including widespread loanwords, and use of a vigesimal number system.
The territory of the Maya covered a third of Mesoamerica, and the Maya were engaged in a dynamic relationship with neighbouring cultures that included the Olmecs, Mixtecs, Teotihuacan, the Aztecs, and others. During the Early Classic period, the Maya cities of Tikal and Kaminaljuyu were key Maya foci in a network that extended beyond the Maya area into the highlands of central Mexico. At around the same time, there was a strong Maya presence at the Tetitla compound of Teotihuacan. Centuries later, during the 9th century AD, murals at Cacaxtla, another site in the central Mexican highlands, were painted in a Maya style. This may have been either an effort to align itself with the still-powerful Maya area after the collapse of Teotihuacan and ensuing political fragmentation in the Mexican Highlands, or an attempt to express a distant Maya origin of the inhabitants. The Maya city of Chichen Itza and the distant Toltec capital of Tula had an especially close relationship.
Geography
The Maya civilization occupied a wide territory that included southeastern Mexico and northern Central America. This area included the entire Yucatán Peninsula and all of the territory now incorporated into the modern countries of Guatemala and Belize, as well as the western portions of Honduras and El Salvador. Most of the peninsula is formed by a vast plain with few hills or mountains and a generally low coastline.
The Petén region consists of densely forested low-lying limestone plain; a chain of fourteen lakes runs across the central drainage basin of Petén. To the south the plain gradually rises towards the Guatemalan Highlands. Dense forest covers northern Petén and Belize, most of Quintana Roo, southern Campeche, and a portion of the south of Yucatán state. Farther north, the vegetation turns to lower forest consisting of dense scrub.
The littoral zone of Soconusco lies to the south of the Sierra Madre de Chiapas, and consists of a narrow coastal plain and the foothills of the Sierra Madre. The Maya highlands extend eastwards from Chiapas into Guatemala, reaching their highest in the Sierra de los Cuchumatanes. The major pre-Columbian population centres of the highlands were located in the largest highland valleys, such as the Valley of Guatemala and the Quetzaltenango Valley. In the southern highlands, a belt of volcanic cones runs parallel to the Pacific coast. The highlands extend northwards into Verapaz, and gradually descend to the east.
History
The history of Maya civilization is divided into three principal periods: the Preclassic, Classic, and Postclassic periods. These were preceded by the Archaic Period, during which the first settled villages and early developments in agriculture emerged. Modern scholars regard these periods as arbitrary divisions of Maya chronology, rather than indicative of cultural evolution or decline. Definitions of the start and end dates of period spans can vary by as much as a century, depending on the author.
Preclassic period (c. 2000 BC – 250 AD)
The Maya developed their first civilization in the Preclassic period. Scholars continue to discuss when this era of Maya civilization began. Maya occupation at Cuello (modern-day Belize) has been carbon dated to around 2600 BC. Settlements were established around 1800 BC in the Soconusco region of the Pacific coast, and the Maya were already cultivating the staple crops of maize, beans, squash, and chili pepper. This period was characterised by sedentary communities and the introduction of pottery and fired clay figurines.
During the Middle Preclassic Period, small villages began to grow to form cities. Nakbe in the Petén department of Guatemala is the earliest well-documented city in the Maya lowlands, where large structures have been dated to around 750 BC. The northern lowlands of Yucatán were widely settled by the Middle Preclassic. By approximately 400 BC, early Maya rulers were raising stelae. A developed script was already being used in Petén by the 3rd century BC. In the Late Preclassic Period, the enormous city of El Mirador grew to cover approximately . Although not as large, Tikal was already a significant city by around 350 BC.
In the highlands, Kaminaljuyu emerged as a principal centre in the Late Preclassic. Takalik Abaj and Chocolá were two of the most important cities on the Pacific coastal plain, and Komchen grew to become an important site in northern Yucatán. The Late Preclassic cultural florescence collapsed in the 1st century AD and many of the great Maya cities of the epoch were abandoned; the cause of this collapse is unknown.
Classic period (c. 250–900 AD)
The Classic period is largely defined as the period during which the lowland Maya raised dated monuments using the Long Count calendar. This period marked the peak of large-scale construction and urbanism, the recording of monumental inscriptions, and demonstrated significant intellectual and artistic development, particularly in the southern lowland regions. The Classic period Maya political landscape has been likened to that of Renaissance Italy or Classical Greece, with multiple city-states engaged in a complex network of alliances and enmities. The largest cities had populations numbering 50,000 to 120,000 and were linked to networks of subsidiary sites.
During the Early Classic, cities throughout the Maya region were influenced by the great metropolis of Teotihuacan in the distant Valley of Mexico. In AD 378, Teotihuacan decisively intervened at Tikal and other nearby cities, deposed their rulers, and installed a new Teotihuacan-backed dynasty. This intervention was led by Siyaj Kʼakʼ ("Born of Fire"), who arrived at Tikal in early 378. The king of Tikal, Chak Tok Ichʼaak I, died on the same day, suggesting a violent takeover. A year later, Siyaj Kʼakʼ oversaw the installation of a new king, Yax Nuun Ahiin I. The installation of the new dynasty led to a period of political dominance when Tikal became the most powerful city in the central lowlands.
Tikal's great rival was Calakmul, another powerful city in the Petén Basin. Tikal and Calakmul both developed extensive systems of allies and vassals; lesser cities that entered one of these networks gained prestige from their association with the top-tier city, and maintained peaceful relations with other members of the same network. Tikal and Calakmul engaged in the manoeuvering of their alliance networks against each other. At various points during the Classic period, one or other of these powers would gain a strategic victory over its great rival, resulting in respective periods of florescence and decline.
In 629, Bʼalaj Chan Kʼawiil, a son of the Tikal king Kʼinich Muwaan Jol II, was sent to found a new city at Dos Pilas, in the Petexbatún region, apparently as an outpost to extend Tikal's power beyond the reach of Calakmul. For the next two decades he fought loyally for his brother and overlord at Tikal. In 648, king Yuknoom Chʼeen II of Calakmul captured Balaj Chan Kʼawiil. Yuknoom Chʼeen II then reinstated Balaj Chan Kʼawiil upon the throne of Dos Pilas as his vassal. He thereafter served as a loyal ally of Calakmul.
In the southeast, Copán was the most important city. Its Classic-period dynasty was founded in 426 by Kʼinich Yax Kʼukʼ Moʼ. The new king had strong ties with central Petén and Teotihuacan. Copán reached the height of its cultural and artistic development during the rule of Uaxaclajuun Ubʼaah Kʼawiil, who ruled from 695 to 738. His reign ended catastrophically when he was captured by his vassal, king Kʼakʼ Tiliw Chan Yopaat of Quiriguá. The captured lord of Copán was taken back to Quiriguá and was decapitated in a public ritual. It is likely that this coup was backed by Calakmul, in order to weaken a powerful ally of Tikal. Palenque and Yaxchilan were the most powerful cities in the Usumacinta region. In the highlands, Kaminaljuyu in the Valley of Guatemala was already a sprawling city by 300. In the north of the Maya area, Coba was the most important capital.
Classic Maya collapse
During the 9th century AD, the central Maya region suffered major political collapse, marked by the abandonment of cities, the ending of dynasties, and a northward shift in activity. No universally accepted theory explains this collapse, but it likely had a combination of causes, including endemic internecine warfare, overpopulation resulting in severe environmental degradation, and drought. During this period, known as the Terminal Classic, the northern cities of Chichen Itza and Uxmal showed increased activity. Major cities in the northern Yucatán Peninsula continued to be inhabited long after the cities of the southern lowlands ceased to raise monuments.
Classic Maya social organization was based on the ritual authority of the ruler, rather than central control of trade and food distribution. This model of rulership was poorly structured to respond to changes, because the ruler's actions were limited by tradition to such activities as construction, ritual, and warfare. This only served to exacerbate systemic problems. By the 9th and 10th centuries, this resulted in collapse of this system of rulership. In the northern Yucatán, individual rule was replaced by a ruling council formed from elite lineages. In the southern Yucatán and central Petén, kingdoms declined; in western Petén and some other areas, the changes were catastrophic and resulted in the rapid depopulation of cities. Within a couple of generations, large swathes of the central Maya area were all but abandoned. Both the capitals and their secondary centres were generally abandoned within a period of 50 to 100 years. One by one, cities stopped sculpting dated monuments; the last Long Count date was inscribed at Toniná in 909. Stelae were no longer raised, and squatters moved into abandoned royal palaces. Mesoamerican trade routes shifted and bypassed Petén.
Postclassic period (c. 950–1539 AD)
Although much reduced, a significant Maya presence remained into the Postclassic period after the abandonment of the major Classic period cities; the population was particularly concentrated near permanent water sources. Unlike during previous cycles of contraction in the Maya region, abandoned lands were not quickly resettled in the Postclassic. Activity shifted to the northern lowlands and the Maya Highlands; this may have involved migration from the southern lowlands, because many Postclassic Maya groups had migration myths. Chichen Itza and its Puuc neighbours declined dramatically in the 11th century, and this may represent the final episode of Classic Period collapse. After the decline of Chichen Itza, the Maya region lacked a dominant power until the rise of the city of Mayapan in the 12th century. New cities arose near the Caribbean and Gulf coasts, and new trade networks were formed.
The Postclassic Period was marked by changes from the preceding Classic Period. The once-great city of Kaminaljuyu in the Valley of Guatemala was abandoned after continuous occupation of almost 2,000 years. Across the highlands and neighbouring Pacific coast, long-occupied cities in exposed locations were relocated, apparently due to a proliferation of warfare. Cities came to occupy more-easily defended hilltop locations surrounded by deep ravines, with ditch-and-wall defences sometimes supplementing the protection provided by the natural terrain. One of the most important cities in the Guatemalan Highlands at this time was Qʼumarkaj, the capital of the aggressive Kʼicheʼ kingdom. The government of Maya states, from the Yucatán to the Guatemalan highlands, was often organised as joint rule by a council. However, in practice one member of the council could act as a supreme ruler, while the other members served him as advisors.
Mayapan was abandoned around 1448, after a period of political, social and environmental turbulence that in many ways echoed the Classic period collapse in the southern Maya region. The abandonment of the city was followed by a period of prolonged warfare, disease and natural disasters in the Yucatán Peninsula, which ended only shortly before Spanish contact in 1511. Even without a dominant regional capital, the early Spanish explorers reported wealthy coastal cities and thriving marketplaces. During the Late Postclassic, the Yucatán Peninsula was divided into a number of independent provinces that shared a common culture but varied in internal sociopolitical organization. On the eve of the Spanish conquest, the highlands of Guatemala were dominated by several powerful Maya states. The Kʼicheʼ had carved out a small empire covering a large part of the western Guatemalan Highlands and the neighbouring Pacific coastal plain. However, in the decades before the Spanish invasion the Kaqchikel kingdom had been steadily eroding the kingdom of the Kʼicheʼ.
Contact period and Spanish conquest (1511–1697 AD)
In 1511, a Spanish caravel was wrecked in the Caribbean, and about a dozen survivors made landfall on the coast of Yucatán. They were seized by a Maya lord, and most were sacrificed, although two managed to escape. From 1517 to 1519, three separate Spanish expeditions explored the Yucatán coast, and engaged in a number of battles with the Maya inhabitants. After the Aztec capital Tenochtitlan fell to the Spanish in 1521, Hernán Cortés despatched Pedro de Alvarado to Guatemala with 180 cavalry, 300 infantry, 4 cannons, and thousands of allied warriors from central Mexico; they arrived in Soconusco in 1523. The Kʼicheʼ capital, Qʼumarkaj, fell to Alvarado in 1524. Shortly afterwards, the Spanish were invited as allies into Iximche, the capital city of the Kaqchikel Maya. Good relations did not last, due to excessive Spanish demands for gold as tribute, and the city was abandoned a few months later. This was followed by the fall of Zaculeu, the Mam Maya capital, in 1525. Francisco de Montejo and his son, Francisco de Montejo the Younger, launched a long series of campaigns against the polities of the Yucatán Peninsula in 1527, and finally completed the conquest of the northern portion of the peninsula in 1546. This left only the Maya kingdoms of the Petén Basin independent. In 1697, Martín de Ursúa launched an assault on the Itza capital Nojpetén and the last independent Maya city fell to the Spanish.
Persistence of Maya culture
The Spanish conquest stripped away most of the defining features of Maya civilization. However, many Maya villages remained remote from Spanish colonial authority, and for the most part continued to manage their own affairs. Maya communities and the nuclear family maintained their traditional day-to-day life. The basic Mesoamerican diet of maize and beans continued, although agricultural output was improved by the introduction of steel tools. Traditional crafts such as weaving, ceramics, and basketry continued to be practised. Community markets and trade in local products continued long after the conquest. At times, the colonial administration encouraged the traditional economy in order to extract tribute in the form of ceramics or cotton textiles, although these were usually made to European specifications. Maya beliefs and language proved resistant to change, despite vigorous efforts by Catholic missionaries. The 260-day tzolkʼin ritual calendar continues in use in modern Maya communities in the highlands of Guatemala and Chiapas, and millions of Mayan-language speakers inhabit the territory in which their ancestors developed their civilization.
Investigation of Maya civilization
The agents of the Catholic Church wrote detailed accounts of the Maya, in support of their efforts at Christianization, and absorption of the Maya into the Spanish Empire. This was followed by various Spanish priests and colonial officials who left descriptions of ruins they visited in Yucatán and Central America. In 1839, American traveller and writer John Lloyd Stephens set out to visit a number of Maya sites with English architect and draftsman Frederick Catherwood. Their illustrated accounts of the ruins sparked strong popular interest, and brought the Maya to the attention of the world. The later 19th century saw the recording and recovery of ethnohistoric accounts of the Maya, and the first steps in deciphering Maya hieroglyphs.
The final two decades of the 19th century saw the birth of modern scientific archaeology in the Maya region, with the meticulous work of Alfred Maudslay and Teoberto Maler. By the early 20th century, the Peabody Museum was sponsoring excavations at Copán and in the Yucatán Peninsula. In the first two decades of the 20th century, advances were made in deciphering the Maya calendar, and identifying deities, dates, and religious concepts. Since the 1930s, archaeological exploration increased dramatically, with large-scale excavations across the Maya region.
In the 1960s, the distinguished Mayanist J. Eric S. Thompson promoted the ideas that Maya cities were essentially vacant ceremonial centres serving a dispersed population in the forest, and that the Maya civilization was governed by peaceful astronomer-priests. These ideas began to collapse with major advances in the decipherment of the script in the late 20th century, pioneered by Heinrich Berlin, Tatiana Proskouriakoff, and Yuri Knorozov. With breakthroughs in understanding of Maya script since the 1950s, the texts revealed the warlike activities of the Classic Maya kings, and the view of the Maya as peaceful could no longer be supported.
Politics
Unlike the Aztecs and the Inca, the Maya political system never integrated the entire Maya cultural area into a single state or empire. Rather, throughout its history, the Maya area contained a varying mix of political complexity that included both states and chiefdoms. These polities fluctuated greatly in their relationships with each other and were engaged in a complex web of rivalries, periods of dominance or submission, vassalage, and alliances. At times, different polities achieved regional dominance, such as Calakmul, Caracol, Mayapan, and Tikal. The first reliably evidenced polities formed in the Maya lowlands in the 9th century BC.
During the Late Preclassic, the Maya political system coalesced into a theopolitical form, where elite ideology justified the ruler's authority, and was reinforced by public display, ritual, and religion. The divine king was the centre of political power, exercising ultimate control over the administrative, economic, judicial, and military functions of the polity. The divine authority invested within the ruler was such that the king was able to mobilize both the aristocracy and commoners in executing huge infrastructure projects, apparently with no police force or standing army. Some polities engaged in a strategy of increasing administration, and filling administrative posts with loyal supporters rather than blood relatives. Within a polity, mid-ranking population centres would have played a key role in managing resources and internal conflict.
The Maya political landscape was highly complex and Maya elites engaged in political intrigue to gain economic and social advantage over neighbours. In the Late Classic, some cities established a long period of dominance over other large cities, such as the dominance of Caracol over Naranjo for half a century. In other cases, loose alliance networks were formed around a dominant city. Border settlements, usually located about halfway between neighbouring capitals, often switched allegiance over the course of their history, and at times acted independently. Dominant capitals exacted tribute in the form of luxury items from subjugated population centres. Political power was reinforced by military power, and the capture and humiliation of enemy warriors played an important part in elite culture. An overriding sense of pride and honour among the warrior aristocracy could lead to extended feuds and vendettas, which caused political instability and the fragmentation of polities.
Society
From the Early Preclassic, Maya society was sharply divided between the elite and commoners. As population increased over time, various sectors of society became increasingly specialised, and political organization became increasingly complex. By the Late Classic, when populations had grown enormously and hundreds of cities were connected in a complex web of political hierarchies, the wealthy segment of society multiplied. A middle class may have developed that included artisans, low ranking priests and officials, merchants, and soldiers. Commoners included farmers, servants, labourers, and slaves. According to indigenous histories, land was held communally by noble houses or clans. Such clans held that the land was the property of the clan ancestors, and such ties between the land and the ancestors were reinforced by the burial of the dead within residential compounds.
King and court
Classic Maya rule was centred in a royal culture that was displayed in all areas of Classic Maya art. The king was the supreme ruler and held a semi-divine status that made him the mediator between the mortal realm and that of the gods. From very early times, kings were specifically identified with the young maize god, whose gift of maize was the basis of Mesoamerican civilization. Maya royal succession was patrilineal, and royal power only passed to queens when doing otherwise would result in the extinction of the dynasty. Typically, power was passed to the eldest son. A young prince was called a chʼok ("youth"), although this word later came to refer to nobility in general. The royal heir was called bʼaah chʼok ("head youth"). Various points in the young prince's childhood were marked by ritual; the most important was a bloodletting ceremony at age five or six years. Although being of the royal bloodline was of utmost importance, the heir also had to be a successful war leader, as demonstrated by taking of captives. The enthronement of a new king was a highly elaborate ceremony, involving a series of separate acts that included enthronement upon a jaguar-skin cushion, human sacrifice, and receiving the symbols of royal power, such as a headband bearing a jade representation of the so-called "jester god", an elaborate headdress adorned with quetzal feathers, and a sceptre representing the god Kʼawiil.
Maya political administration, based around the royal court, was not bureaucratic in nature. Government was hierarchical, and official posts were sponsored by higher-ranking members of the aristocracy; officials tended to be promoted to higher levels of office during the course of their lives. Officials are referred to as being "owned" by their sponsor, and this relationship continued even after the death of the sponsor. The Maya royal court was a vibrant and dynamic political institution. There was no universal structure for the Maya royal court, instead each polity formed a royal court that was suited to its own individual context. A number of royal and noble titles have been identified by epigraphers translating Classic Maya inscriptions. Ajaw is usually translated as "lord" or "king". In the Early Classic, an ajaw was the ruler of a city. Later, with increasing social complexity, the ajaw was a member of the ruling class and a major city could have more than one, each ruling over different districts. Paramount rulers distinguished themselves from the extended nobility by prefixing the word kʼuhul to their ajaw title. A kʼuhul ajaw was "divine lord", originally confined to the kings of the most prestigious and ancient royal lines. Kalomte was a royal title, whose exact meaning is not yet deciphered, but it was held only by the most powerful kings of the strongest dynasties. It indicated an overlord, or high king, and the title was only in use during the Classic period. By the Late Classic, the absolute power of the kʼuhul ajaw had weakened, and the political system had diversified to include a wider aristocracy, that by this time may well have expanded disproportionately.
A sajal was ranked below the ajaw, and indicated a subservient lord. A sajal would be lord of a second- or third-tier site, answering to an ajaw, who may himself have been subservient to a kalomte. A sajal would often be a war captain or regional governor, and inscriptions often link the sajal title to warfare; they are often mentioned as the holders of war captives. Sajal meant "feared one". The titles of ah tzʼihb and ah chʼul hun are both related to scribes. The ah tzʼihb was a royal scribe, usually a member of the royal family; the ah chʼul hun was the Keeper of the Holy Books, a title that is closely associated with the ajaw title, indicating that an ajaw always held the ah chʼul hun title simultaneously. Other courtly titles, the functions of which are not well understood, were yajaw kʼahk''' ("Lord of Fire"), tiʼhuun and ti'sakhuun. These last two may be variations on the same title, and Mark Zender has suggested that the holder of this title may have been the spokesman for the ruler. Courtly titles are overwhelmingly male-oriented, and in those relatively rare occasions where they are applied to a woman, they appear to be used as honorifics for female royalty. Titled elites were often associated with particular structures in the hieroglyphic inscriptions of Classic period cities, indicating that such office holders either owned that structure, or that the structure was an important focus for their activities. A lakam, or standard-bearer, was possibly the only non-elite post-holder in the royal court. The lakam was only found in larger sites, and they appear to have been responsible for the taxation of local districts.
Different factions may have existed in the royal court. The kʼuhul ahaw and his household would have formed the central power-base, but other important groups were the priesthood, the warrior aristocracy, and other aristocratic courtiers. Where ruling councils existed, as at Chichen Itza and Copán, these may have formed an additional faction. Rivalry between different factions would have led to dynamic political institutions as compromises and disagreements were played out. In such a setting, public performance was vital. Such performances included ritual dances, presentation of war captives, offerings of tribute, human sacrifice, and religious ritual.
Commoners
Commoners are estimated to have comprised over 90% of the population, but relatively little is known about them. Their houses were generally constructed from perishable materials, and their remains have left little trace in the archaeological record. Some commoner dwellings were raised on low platforms, and these can be identified, but an unknown quantity of commoner houses were not. Such low-status dwellings can only be detected by extensive remote-sensing surveys of apparently empty terrain. The range of commoners was broad; it consisted of everyone not of noble birth, and therefore included everyone from the poorest farmers to wealthy craftsmen and commoners appointed to bureaucratic positions. Commoners engaged in essential production activities, including that of products destined for use by the elite, such as cotton and cacao, as well as subsistence crops for their own use, and utilitarian items such as ceramics and stone tools. Commoners took part in warfare, and could advance socially by proving themselves as outstanding warriors. Commoners paid taxes to the elite in the form of staple goods such as maize, flour and game. It is likely that hard-working commoners who displayed exceptional skills and initiative could become influential members of Maya society.
Warfare
Warfare was prevalent in the Maya world. Military campaigns were launched for a variety of reasons, including the control of trade routes and tribute, raids to take captives, scaling up to the complete destruction of an enemy state. Little is known about Maya military organization, logistics, or training. Warfare is depicted in Maya art from the Classic period, and wars and victories are mentioned in hieroglyphic inscriptions. Unfortunately, the inscriptions do not provide information upon the causes of war, or the form it took. In the 8th–9th centuries, intensive warfare resulted in the collapse of the kingdoms of the Petexbatún region of western Petén. The rapid abandonment of Aguateca by its inhabitants has provided a rare opportunity to examine the remains of Maya weaponry in situ. Aguateca was stormed by unknown enemies around 810 AD, who overcame its formidable defences and burned the royal palace. The elite inhabitants of the city either fled or were captured, and never returned to collect their abandoned property. The inhabitants of the periphery abandoned the site soon after. This is an example of intensive warfare carried out by an enemy in order to eliminate a Maya state, rather than subjugate it. Research at Aguateca indicated that Classic period warriors were primarily members of the elite.
From as early as the Preclassic period, the ruler of a Maya polity was expected to be a distinguished war leader, and was depicted with trophy heads hanging from his belt. In the Classic period, such trophy heads no longer appeared on the king's belt, but Classic period kings are frequently depicted standing over humiliated war captives. Right up to the end of the Postclassic period, Maya kings led as war captains. Maya inscriptions from the Classic show that a defeated king could be captured, tortured, and sacrificed. The Spanish recorded that Maya leaders kept track of troop movements in painted books.
The outcome of a successful military campaign could vary in its impact on the defeated polity. In some cases, entire cities were sacked, and never resettled, as at Aguateca. In other instances, the victors would seize the defeated rulers, their families, and patron gods. The captured nobles and their families could be imprisoned, or sacrificed. At the least severe end of the scale, the defeated polity would be obliged to pay tribute to the victor.
Warriors
During the Contact period, it is known that certain military positions were held by members of the aristocracy, and were passed on by patrilineal succession. It is likely that the specialised knowledge inherent in the particular military role was taught to the successor, including strategy, ritual, and war dances. Maya armies of the Contact period were highly disciplined, and warriors participated in regular training exercises and drills; every able-bodied adult male was available for military service. Maya states did not maintain standing armies; warriors were mustered by local officials who reported back to appointed warleaders. There were also units of full-time mercenaries who followed permanent leaders. Most warriors were not full-time, however, and were primarily farmers; the needs of their crops usually came before warfare. Maya warfare was not so much aimed at destruction of the enemy as the seizure of captives and plunder.
There is some evidence from the Classic period that women provided supporting roles in war, but they did not act as military officers with the exception of those rare ruling queens. By the Postclassic, the native chronicles suggest that women occasionally fought in battle.
Weapons
The atlatl (spear-thrower) was introduced to the Maya region by Teotihuacan in the Early Classic. This was a stick with a notched end to hold a dart or javelin. The stick was used to launch the missile with more force and accuracy than could be accomplished by simply hurling it with the arm alone. Evidence in the form of stone blade points recovered from Aguateca indicate that darts and spears were the primary weapons of the Classic Maya warrior. Commoners used blowguns in war, which also served as their hunting weapon. The bow and arrow is another weapon that was used by the ancient Maya for both war and hunting. Although present in the Maya region during the Classic period, its use as a weapon of war was not favoured; it did not become a common weapon until the Postclassic. The Contact period Maya also used two-handed swords crafted from strong wood with the blade fashioned from inset obsidian, similar to the Aztec macuahuitl. Maya warriors wore body armour in the form of quilted cotton that had been soaked in salt water to toughen it; the resulting armour compared favourably to the steel armour worn by the Spanish when they conquered the region. Warriors bore wooden or animal hide shields decorated with feathers and animal skins.
Trade
Trade was a key component of Maya society, and in the development of the Maya civilization. The cities that grew to become the most important usually controlled access to vital trade goods, or portage routes. Cities such as Kaminaljuyu and Qʼumarkaj in the Guatemalan Highlands, and Chalchuapa in El Salvador, variously controlled access to the sources of obsidian at different points in Maya history. The Maya were major producers of cotton, which was used to make the textiles to be traded throughout Mesoamerica. The most important cities in the northern Yucatán Peninsula controlled access to the sources of salt. In the Postclassic, the Maya engaged in a flourishing slave trade with wider Mesoamerica.
The Maya engaged in long-distance trade across the Maya region, and across greater Mesoamerica and beyond. As an illustration, an Early Classic Maya merchant quarter has been identified at the distant metropolis of Teotihuacan, in central Mexico. Within Mesoamerica beyond the Maya area, trade routes particularly focused on central Mexico and the Gulf coast. In the Early Classic, Chichen Itza was at the hub of an extensive trade network that imported gold discs from Colombia and Panama, and turquoise from Los Cerrillos, New Mexico. Long-distance trade of both luxury and utilitarian goods was probably controlled by the royal family. Prestige goods obtained by trade were used both for consumption by the city's ruler, and as luxury gifts to consolidate the loyalty of vassals and allies.
Trade routes not only supplied physical goods, they facilitated the movement of people and ideas throughout Mesoamerica. Shifts in trade routes occurred with the rise and fall of important cities in the Maya region, and have been identified in every major reorganization of the Maya civilization, such as the rise of Preclassic Maya civilization, the transition to the Classic, and the Terminal Classic collapse. Even the Spanish Conquest did not immediately terminate all Maya trading activity; for example, the Contact period Manche Chʼol traded the prestige crops of cacao, annatto and vanilla into colonial Verapaz.
Merchants
Little is known of Maya merchants, although they are depicted on Maya ceramics in elaborate noble dress. From this, it is known that at least some traders were members of the elite. During the Contact period, it is known that Maya nobility took part in long-distance trading expeditions. The majority of traders were middle class, but were largely engaged in local and regional trade rather than the prestigious long-distance trading that was the preserve of the elite. The travelling of merchants into dangerous foreign territory was likened to a passage through the underworld; the patron deities of merchants were two underworld gods carrying backpacks. When merchants travelled, they painted themselves black, like their patron gods, and went heavily armed.
The Maya had no pack animals, so all trade goods were carried on the backs of porters when going overland; if the trade route followed a river or the coast, then goods were transported in canoes. A substantial Maya trading canoe was encountered off Honduras on Christopher Columbus's fourth voyage. It was made from a large hollowed-out tree trunk and had a palm-covered canopy. The canoe was broad and was powered by 25 rowers. Trade goods carried included cacao, obsidian, ceramics, textiles, food and drink for the crew, and copper bells and axes. Cacao was used as currency (although not exclusively), and its value was such that counterfeiting occurred by removing the flesh from the pod, and stuffing it with dirt or avocado rind.
Marketplaces
Marketplaces are difficult to identify archaeologically. However, the Spanish reported a thriving market economy when they arrived in the region. At some Classic period cities, archaeologists have tentatively identified formal arcade-style masonry architecture and parallel alignments of scattered stones as the permanent foundations of market stalls. A 2007 study analysed soils from a modern Guatemalan market and compared the results with those obtained from analysis at a proposed ancient market at Chunchucmil. Unusually high levels of zinc and phosphorus at both sites indicated similar food production and vegetable sales activity. The calculated density of market stalls at Chunchucmil strongly suggests that a thriving market economy already existed in the Early Classic. Archaeologists have tentatively identified marketplaces at an increasing number of Maya cities by means of a combination of archaeology and soil analysis. When the Spanish arrived, Postclassic cities in the highlands had markets in permanent plazas, with officials on hand to settle disputes, enforce rules, and collect taxes.
Art
Maya art is essentially the art of the royal court. It is almost exclusively concerned with the Maya elite and their world. Maya art was crafted from both perishable and non-perishable materials, and served to link the Maya to their ancestors. Although surviving Maya art represents only a small proportion of the art that the Maya created, it represents a wider variety of subjects than any other art tradition in the Americas. Maya art has many regional styles, and is unique in the ancient Americas in bearing narrative text. The finest surviving Maya art dates to the Late Classic period.
The Maya exhibited a preference for the colour green or blue-green, and used the same word for the colours blue and green. Correspondingly, they placed high value on apple-green jade, and other greenstones, associating them with the sun-god Kʼinich Ajau. They sculpted artefacts that included fine tesserae and beads, to carved heads weighing . The Maya nobility practised dental modification, and some lords wore encrusted jade in their teeth. Mosaic funerary masks could also be fashioned from jade, such as that of Kʼinich Janaabʼ Pakal, king of Palenque.
Maya stone sculpture emerged into the archaeological record as a fully developed tradition, suggesting that it may have evolved from a tradition of sculpting wood. Because of the biodegradability of wood, the corpus of Maya woodwork has almost entirely disappeared. The few wooden artefacts that have survived include three-dimensional sculptures, and hieroglyphic panels. Stone Maya stelae are widespread in city sites, often paired with low, circular stones referred to as altars in the literature. Stone sculpture also took other forms, such as the limestone relief panels at Palenque and Piedras Negras. At Yaxchilan, Dos Pilas, Copán, and other sites, stone stairways were decorated with sculpture. The hieroglyphic stairway at Copán comprises the longest surviving Maya hieroglyphic text, and consists of 2,200 individual glyphs.
The largest Maya sculptures consisted of architectural façades crafted from stucco. The rough form was laid out on a plain plaster base coating on the wall, and the three-dimensional form was built up using small stones. Finally, this was coated with stucco and moulded into the finished form; human body forms were first modelled in stucco, with their costumes added afterwards. The final stucco sculpture was then brightly painted. Giant stucco masks were used to adorn temple façades by the Late Preclassic, and such decoration continued into the Classic period.
The Maya had a long tradition of mural painting; rich polychrome murals have been excavated at San Bartolo, dating to between 300 and 200 BC. Walls were coated with plaster, and polychrome designs were painted onto the smooth finish. The majority of such murals have not survived, but Early Classic tombs painted in cream, red, and black have been excavated at Caracol, Río Azul, and Tikal. Among the best preserved murals are a full-size series of Late Classic paintings at Bonampak.
Flint, chert, and obsidian all served utilitarian purposes in Maya culture, but many pieces were finely crafted into forms that were never intended to be used as tools. Eccentric flints are among the finest lithic artefacts produced by the ancient Maya. They were technically very challenging to produce, requiring considerable skill on the part of the artisan. Large obsidian eccentrics can measure over in length. Their actual form varies considerably but they generally depict human, animal and geometric forms associated with Maya religion. Eccentric flints show a great variety of forms, such as crescents, crosses, snakes, and scorpions. The largest and most elaborate examples display multiple human heads, with minor heads sometimes branching off from larger one.
Maya textiles are very poorly represented in the archaeological record, although by comparison with other pre-Columbian cultures, such as the Aztecs and the Andean region, it is likely that they were high-value items. A few scraps of textile have been recovered by archaeologists, but the best evidence for textile art is where they are represented in other media, such as painted murals or ceramics. Such secondary representations show the elite of the Maya court adorned with sumptuous cloths, generally these would have been cotton, but jaguar pelts and deer hides are also shown.
Ceramics are the most commonly surviving type of Maya art. The Maya had no knowledge of the potter's wheel, and Maya vessels were built up by coiling rolled strips of clay into the desired form. Maya pottery was not glazed, although it often had a fine finish produced by burnishing. Maya ceramics were painted with clay slips blended with minerals and coloured clays. Ancient Maya firing techniques have yet to be replicated. A quantity of extremely fine ceramic figurines have been excavated from Late Classic tombs on Jaina Island, in northern Yucatán. They stand from high and were hand modelled, with exquisite detail. The Ik-style polychrome ceramic corpus, including finely painted plates and cylindrical vessels, originated in Late Classic Motul de San José. It includes a set of features such as hieroglyphs painted in a pink or pale red colour and scenes with dancers wearing masks. One of the most distinctive features is the realistic representation of subjects as they appeared in life. The subject matter of the vessels includes courtly life from the Petén region in the 8th century AD, such as diplomatic meetings, feasting, bloodletting, scenes of warriors and the sacrifice of prisoners of war.
Bone, both human and animal, was also sculpted; human bones may have been trophies, or relics of ancestors. The Maya valued Spondylus shells, and worked them to remove the white exterior and spines, to reveal the fine orange interior. Around the 10th century AD, metallurgy arrived in Mesoamerica from South America, and the Maya began to make small objects in gold, silver and copper. The Maya generally hammered sheet metal into objects such as beads, bells, and discs. In the last centuries before the Spanish Conquest, the Maya began to use the lost-wax method to cast small metal pieces.
One poorly studied area of Maya folk art is graffiti. Additional graffiti, not part of the planned decoration, was incised into the stucco of interior walls, floors, and benches, in a wide variety of buildings, including temples, residences, and storerooms. Graffiti has been recorded at 51 Maya sites, particularly clustered in the Petén Basin and southern Campeche, and the Chenes region of northwestern Yucatán. At Tikal, where a great quantity of graffiti has been recorded, the subject matter includes drawings of temples, people, deities, animals, banners, litters, and thrones. Graffiti was often inscribed haphazardly, with drawings overlapping each other, and display a mix of crude, untrained art, and examples by artists who were familiar with Classic-period artistic conventions.
Architecture
The Maya produced a vast array of structures, and have left an extensive architectural legacy. Maya architecture also incorporates various art forms and hieroglyphic texts. Masonry architecture built by the Maya evidences craft specialization in Maya society, centralised organization and the political means to mobilize a large workforce. It is estimated that a large elite residence at Copán required an estimated 10,686 man-days to build, which compares to 67-man-days for a commoner's hut. It is further estimated that 65% of the labour required to build the noble residence was used in the quarrying, transporting, and finishing of the stone used in construction, and 24% of the labour was required for the manufacture and application of limestone-based plaster. Altogether, it is estimated that two to three months were required for the construction of the residence for this single noble at Copán, using between 80 and 130 full-time labourers. A Classic-period city like Tikal was spread over , with an urban core covering . The labour required to build such a city was immense, running into many millions of man-days. The most massive structures ever erected by the Maya were built during the Preclassic period. Craft specialization would have required dedicated stonemasons and plasterers by the Late Preclassic, and would have required planners and architects.
Urban design
Maya cities were not formally planned, and were subject to irregular expansion, with the haphazard addition of palaces, temples and other buildings. Most Maya cities tended to grow outwards from the core, and upwards as new structures were superimposed upon preceding architecture. Maya cities usually had a ceremonial and administrative centre surrounded by a vast irregular sprawl of residential complexes. The centres of all Maya cities featured sacred precincts, sometimes separated from nearby residential areas by walls. These precincts contained pyramid temples and other monumental architecture dedicated to elite activities, such as basal platforms that supported administrative or elite residential complexes. Sculpted monuments were raised to record the deeds of the ruling dynasty. City centres also featured plazas, sacred ballcourts and buildings used for marketplaces and schools. Frequently causeways linked the centre to outlying areas of the city. Some of these classes of architecture formed lesser groups in the outlying areas of the city, which served as sacred centres for non-royal lineages. The areas adjacent to these sacred compounds included residential complexes housing wealthy lineages. The largest and richest of these elite compounds sometimes possessed sculpture and art of craftsmanship equal to that of royal art.
The ceremonial centre of the Maya city was where the ruling elite lived, and where the administrative functions of the city were performed, together with religious ceremonies. It was also where the inhabitants of the city gathered for public activities. Elite residential complexes occupied the best land around the city centre, while commoners had their residences dispersed further away from the ceremonial centre. Residential units were built on top of stone platforms to raise them above the level of the rain season floodwaters.
Building materials and methods
The Maya built their cities with Neolithic technology; they built their structures from both perishable materials and from stone. The exact type of stone used in masonry construction varied according to locally available resources, and this also affected the building style. Across a broad swathe of the Maya area, limestone was immediately available. The local limestone is relatively soft when freshly cut, but hardens with exposure. There was great variety in the quality of limestone, with good-quality stone available in the Usumacinta region; in the northern Yucatán, the limestone used in construction was of relatively poor quality. Volcanic tuff was used at Copán, and nearby Quiriguá employed sandstone. In Comalcalco, where suitable stone was not available locally, fired bricks were employed. Limestone was burned at high temperatures in order to manufacture cement, plaster, and stucco. Lime-based cement was used to seal stonework in place, and stone blocks were fashioned using rope-and-water abrasion, and with obsidian tools. The Maya did not employ a functional wheel, so all loads were transported on litters, barges, or rolled on logs. Heavy loads were lifted with rope, but probably without employing pulleys.
Wood was used for beams, and for lintels, even in masonry structures. Throughout Maya history, common huts and some temples continued to be built from wooden poles and thatch. Adobe was also applied; this consisted of mud strengthened with straw and was applied as a coating over the woven-stick walls of huts. Like wood and thatch, adobe was used throughout Maya history, even after the development of masonry structures. In the southern Maya area, adobe was employed in monumental architecture when no suitable stone was locally available.
Principal construction types
The great cities of the Maya civilization were composed of pyramid temples, palaces, ballcourts, sacbeob (causeways), patios and plazas. Some cities also possessed extensive hydraulic systems or defensive walls. The exteriors of most buildings were painted, either in one or multiple colours, or with imagery. Many buildings were adorned with sculpture or painted stucco reliefs.
Palaces and acropoleis
These complexes were usually located in the site core, beside a principal plaza. Maya palaces consisted of a platform supporting a multiroom range structure. The term acropolis, in a Maya context, refers to a complex of structures built upon platforms of varying height. Palaces and acropoleis were essentially elite residential compounds. They generally extended horizontally as opposed to the towering Maya pyramids, and often had restricted access. Some structures in Maya acropoleis supported roof combs. Rooms often had stone benches, used for sleeping, and holes indicate where curtains once hung. Large palaces, such as at Palenque, could be fitted with a water supply, and sweat baths were often found within the complex, or nearby. During the Early Classic, rulers were sometimes buried underneath the acropolis complex. Some rooms in palaces were true throne rooms; in the royal palace of Palenque there were a number of throne rooms that were used for important events, including the inauguration of new kings.
Palaces are usually arranged around one or more courtyards, with their façades facing inwards; some examples are adorned with sculpture. Some palaces possess associated hieroglyphic descriptions that identify them as the royal residences of named rulers. There is abundant evidence that palaces were far more than simple elite residences, and that a range of courtly activities took place in them, including audiences, formal receptions, and important rituals.
Pyramids and temples
Temples were sometimes referred to in hieroglyphic texts as kʼuh nah, meaning "god's house". Temples were raised on platforms, most often upon a pyramid. The earliest temples were probably thatched huts built upon low platforms. By the Late Preclassic period, their walls were of stone, and the development of the corbel arch allowed stone roofs to replace thatch. By the Classic period, temple roofs were being topped with roof combs that extended the height of the temple and served as a foundation for monumental art. The temple shrines contained between one and three rooms, and were dedicated to important deities. Such a deity might be one of the patron gods of the city, or a deified ancestor. In general, freestanding pyramids were shrines honouring powerful ancestors.
E-Groups and observatories
The Maya were keen observers of the sun, stars, and planets. E-Groups were a particular arrangement of temples that were relatively common in the Maya region; they take their names from Group E at Uaxactun. They consisted of three small structures facing a fourth structure, and were used to mark the solstices and equinoxes. The earliest examples date to the Preclassic period. The Lost World complex at Tikal started out as an E-Group built towards the end of the Middle Preclassic. Due to its nature, the basic layout of an E-Group was constant. A structure was built on the west side of a plaza; it was usually a radial pyramid with stairways facing the cardinal directions. It faced east across the plaza to three small temples on the far side. From the west pyramid, the sun was seen to rise over these temples on the solstices and equinoxes. E-Groups were raised across the central and southern Maya area for over a millennium; not all were properly aligned as observatories, and their function may have been symbolic.
As well as E-Groups, the Maya built other structures dedicated to observing the movements of celestial bodies. Many Maya buildings were aligned with astronomical bodies, including the planet Venus, and various constellations. The Caracol structure at Chichen Itza was a circular multi-level edifice, with a conical superstructure. It has slit windows that marked the movements of Venus. At Copán, a pair of stelae were raised to mark the position of the setting sun at the equinoxes.
Triadic pyramids
Triadic pyramids first appeared in the Preclassic. They consisted of a dominant structure flanked by two smaller inward-facing buildings, all mounted upon a single basal platform. The largest known triadic pyramid was built at El Mirador in the Petén Basin; it covers an area six times as large as that covered by Temple IV, the largest pyramid at Tikal. The three superstructures all have stairways leading up from the central plaza on top of the basal platform. No securely established forerunners of Triadic Groups are known, but they may have developed from the eastern range building of E-Group complexes. The triadic form was the predominant architectural form in the Petén region during the Late Preclassic. Examples of triadic pyramids are known from as many as 88 archaeological sites. At Nakbe, there are at least a dozen examples of triadic complexes and the four largest structures in the city are triadic in nature. At El Mirador there are probably as many as 36 triadic structures. Examples of the triadic form are even known from Dzibilchaltun in the far north of the Yucatán Peninsula, and Qʼumarkaj in the Highlands of Guatemala. The triadic pyramid remained a popular architectural form for centuries after the first examples were built; it continued in use into the Classic Period, with later examples being found at Uaxactun, Caracol, Seibal, Nakum, Tikal and Palenque. The Qʼumarkaj example is the only one that has been dated to the Postclassic Period. The triple-temple form of the triadic pyramid appears to be related to Maya mythology.
Ballcourts
The ballcourt is a distinctive pan-Mesoamerican form of architecture. Although the majority of Maya ballcourts date to the Classic period, the earliest examples appeared around 1000 BC in northwestern Yucatán, during the Middle Preclassic. By the time of Spanish contact, ballcourts were only in use in the Guatemalan Highlands, at cities such as Qʼumarkaj and Iximche. Throughout Maya history, ballcourts maintained a characteristic form consisting of an ɪ shape, with a central playing area terminating in two transverse end zones. The central playing area usually measures between long, and is flanked by two lateral structures that stood up to high. The lateral platforms often supported structures that may have held privileged spectators. The Great Ballcourt at Chichen Itza is the largest in Mesoamerica, measuring long by wide, with walls standing high.
Regional architectural styles
Although Maya cities shared many common features, there was considerable variation in architectural style. Such styles were influenced by locally available construction materials, climate, topography, and local preferences. In the Late Classic, these local differences developed into distinctive regional architectural styles.
Central Petén
The central Petén style of architecture is modelled after the great city of Tikal. The style is characterised by tall pyramids supporting a summit shrine adorned with a roof comb, and accessed by a single doorway. Additional features are the use of stela-altar pairings, and the decoration of architectural façades, lintels, and roof combs with relief sculptures of rulers and gods. One of the finest examples of Central Petén style architecture is Tikal Temple I. Examples of sites in the Central Petén style include Altun Ha, Calakmul, Holmul, Ixkun, Nakum, Naranjo, and Yaxhá.
Puuc
The exemplar of Puuc-style architecture is Uxmal. The style developed in the Puuc Hills of northwestern Yucatán; during the Terminal Classic it spread beyond this core region across the northern Yucatán Peninsula. Puuc sites replaced rubble cores with lime cement, resulting in stronger walls, and also strengthened their corbel arches; this allowed Puuc-style cities to build freestanding entrance archways. The upper façades of buildings were decorated with precut stones mosaic-fashion, erected as facing over the core, forming elaborate compositions of long-nosed deities such as the rain god Chaac and the Principal Bird Deity. The motifs also included geometric patterns, lattices and spools, possibly influenced by styles from highland Oaxaca, outside the Maya area. In contrast, the lower façades were left undecorated. Roof combs were relatively uncommon at Puuc sites.
Chenes
The Chenes style is very similar to the Puuc style, but predates the use of the mosaic façades of the Puuc region. It featured fully adorned façades on both the upper and lower sections of structures. Some doorways were surrounded by mosaic masks of monsters representing mountain or sky deities, identifying the doorways as entrances to the supernatural realm. Some buildings contained interior stairways that accessed different levels. The Chenes style is most commonly encountered in the southern portion of the Yucatán Peninsula, although individual buildings in the style can be found elsewhere in the peninsula. Examples of Chenes sites include Dzibilnocac, Hochob, Santa Rosa Xtampak, and Tabasqueño.
Río Bec
The Río Bec style forms a sub-region of the Chenes style, and also features elements of the Central Petén style, such as prominent roof combs. Its palaces are distinctive for their false-tower decorations, lacking interior rooms, with steep, almost vertical, stairways and false doors. These towers were adorned with deity masks, and were built to impress the viewer, rather than serve any practical function. Such false towers are only found in the Río Bec region. Río Bec sites include Chicanná, Hormiguero, and Xpuhil.
Usumacinta
The Usumacinta style developed in the hilly terrain of the Usumacinta drainage. Cities took advantage of the hillsides to support their major architecture, as at Palenque and Yaxchilan. Sites modified corbel vaulting to allow thinner walls and multiple access doors to temples. As in Petén, roof combs adorned principal structures. Palaces had multiple entrances that used post-and-lintel entrances rather than corbel vaulting. Many sites erected stelae, but Palenque instead developed finely sculpted panelling to decorate its buildings.
Language
Before 2000 BC, the Maya spoke a single language, dubbed proto-Mayan by linguists. Linguistic analysis of reconstructed Proto-Mayan vocabulary suggests that the original Proto-Mayan homeland was in the western or northern Guatemalan Highlands, although the evidence is not conclusive. Proto-Mayan diverged during the Preclassic period to form the major Mayan language groups that make up the family, including Huastecan, Greater Kʼicheʼan, Greater Qʼanjobalan, Mamean, Tzʼeltalan-Chʼolan, and Yucatecan. These groups diverged further during the pre-Columbian era to form over 30 languages that have survived into modern times. The language of almost all Classic Maya texts over the entire Maya area has been identified as Chʼolan; Late Preclassic text from Kaminaljuyu, in the highlands, also appears to be in, or related to, Chʼolan. The use of Chʼolan as the language of Maya text does not necessarily indicate that it was the language commonly used by the local populace – it may have been equivalent to Medieval Latin as a ritual or prestige language. Classic Chʼolan may have been the prestige language of the Classic Maya elite, used in inter-polity communication such as diplomacy and trade. By the Postclassic period, Yucatec was also being written in Maya codices alongside Chʼolan.
Writing and literacy
The Maya writing system is one of the outstanding achievements of the pre-Columbian inhabitants of the Americas. It was the most sophisticated and highly developed writing system of more than a dozen systems that developed in Mesoamerica. The earliest inscriptions in an identifiably Maya script date back to 300–200 BC, in the Petén Basin. However, this is preceded by several other Mesoamerican writing systems, such as the Epi-Olmec and Zapotec scripts. Early Maya script had appeared on the Pacific coast of Guatemala by the late 1st century AD, or early 2nd century. Similarities between the Isthmian script and Early Maya script of the Pacific coast suggest that the two systems developed in tandem. By about AD 250, the Maya script had become a more formalised and consistent writing system.
The Catholic Church and colonial officials, notably Bishop Diego de Landa, destroyed Maya texts wherever they found them, and with them the knowledge of Maya writing, but by chance three uncontested pre-Columbian books dated to the Postclassic period have been preserved. These are known as the Madrid Codex, the Dresden Codex and the Paris Codex. A few pages survive from a fourth, the Grolier Codex, whose authenticity is disputed. Archaeology conducted at Maya sites often reveals other fragments, rectangular lumps of plaster and paint chips which were codices; these tantalizing remains are, however, too severely damaged for any inscriptions to have survived, most of the organic material having decayed. In reference to the few extant Maya writings, Michael D. Coe stated:
Most surviving pre-Columbian Maya writing dates to the Classic period and is contained in stone inscriptions from Maya sites, such as stelae, or on ceramics vessels. Other media include the aforementioned codices, stucco façades, frescoes, wooden lintels, cave walls, and portable artefacts crafted from a variety of materials, including bone, shell, obsidian, and jade.
Writing system
The Maya writing system (often called hieroglyphs from a superficial resemblance to Ancient Egyptian writing) is a logosyllabic writing system, combining a syllabary of phonetic signs representing syllables with logogram representing entire words.Tanaka 2008, pp. 30, 53. Among the writing systems of the Pre-Columbian New World, Maya script most closely represents the spoken language. At any one time, no more than around 500 glyphs were in use, some 200 of which (including variations) were phonetic.
The Maya script was in use up to the arrival of the Europeans, its use peaking during the Classic Period. In excess of 10,000 individual texts have been recovered, mostly inscribed on stone monuments, lintels, stelae and ceramics. The Maya also produced texts painted on a form of paper manufactured from processed tree-bark generally now known by its Nahuatl-language name amatl used to produce codices.Tobin 2001. The skill and knowledge of Maya writing persisted among segments of the population right up to the Spanish conquest. The knowledge was subsequently lost, as a result of the impact of the conquest on Maya society.
The decipherment and recovery of the knowledge of Maya writing has been a long and laborious process. Some elements were first deciphered in the late 19th and early 20th century, mostly the parts having to do with numbers, the Maya calendar, and astronomy. Major breakthroughs were made from the 1950s to 1970s, and accelerated rapidly thereafter. By the end of the 20th century, scholars were able to read the majority of Maya texts, and ongoing work continues to further illuminate the content.Kettunen & Helmke 2014, p. 9.
Logosyllabic script
The basic unit of Maya logosyllabic text is the glyph block, which transcribes a word or phrase. The block is composed of one or more individual glyphs attached to each other to form the glyph block, with individual glyph blocks generally being separated by a space. Glyph blocks are usually arranged in a grid pattern. For ease of reference, epigraphers refer to glyph blocks from left to right alphabetically, and top to bottom numerically. Thus, any glyph block in a piece of text can be identified. C4 would be third block counting from the left, and the fourth block counting downwards. If a monument or artefact has more than one inscription, column labels are not repeated, rather they continue in the alphabetic series; if there are more than 26 columns, the labelling continues as A', B', etc. Numeric row labels restart from 1 for each discrete unit of text.
Although Mayan text may be laid out in varying manners, generally it is arranged into double columns of glyph blocks. The reading order of text starts at the top left (block A1), continues to the second block in the double-column (B1), then drops down a row and starts again from the left half of the double column (A2), and thus continues in zig-zag fashion. Once the bottom is reached, the inscription continues from the top left of the next double column. Where an inscription ends in a single (unpaired) column, this final column is usually read straight downwards.
Individual glyph blocks may be composed of a number of elements. These consist of the main sign, and any affixes. Main signs represent the major element of the block, and may be a noun, verb, adverb, adjective, or phonetic sign. Some main signs are abstract, some are pictures of the object they represent, and others are "head variants", personifications of the word they represent. Affixes are smaller rectangular elements, usually attached to a main sign, although a block may be composed entirely of affixes. Affixes may represent a wide variety of speech elements, including nouns, verbs, verbal suffixes, prepositions, pronouns, and more. Small sections of a main sign could be used to represent the whole main sign, and Maya scribes were highly inventive in their usage and adaptation of glyph elements.
Writing tools
Although the archaeological record does not provide examples of brushes or pens, analysis of ink strokes on the Postclassic codices suggests that it was applied with a brush with a tip fashioned from pliable hair. A Classic period sculpture from Copán, Honduras, depicts a scribe with an inkpot fashioned from a conch shell. Excavations at Aguateca uncovered a number of scribal artefacts from the residences of elite status scribes, including palettes and mortars and pestles.
Scribes and literacy
Commoners were illiterate; scribes were drawn from the elite. It is not known if all members of the aristocracy could read and write, although at least some women could, since there are representations of female scribes in Maya art. Maya scribes were called aj tzʼib, meaning "one who writes or paints". There were probably scribal schools where members of the aristocracy were taught to write. Scribal activity is identifiable in the archaeological record; Jasaw Chan Kʼawiil I, king of Tikal, was interred with his paint pot. Some junior members of the Copán royal dynasty have also been found buried with their writing implements. A palace at Copán has been identified as that of a noble lineage of scribes; it is decorated with sculpture that includes figures holding ink pots.
Although not much is known about Maya scribes, some did sign their work, both on ceramics and on stone sculpture. Usually, only a single scribe signed a ceramic vessel, but multiple sculptors are known to have recorded their names on stone sculpture; eight sculptors signed one stela at Piedras Negras. However, most works remained unsigned by their artists.
Mathematics
In common with the other Mesoamerican civilizations, the Maya used a base 20 (vigesimal) system. The bar-and-dot counting system that is the base of Maya numerals was in use in Mesoamerica by 1000 BC; the Maya adopted it by the Late Preclassic, and added the symbol for zero. This may have been the earliest known occurrence of the idea of an explicit zero worldwide, although it may have been predated by the Babylonian system. The earliest explicit use of zero occurred on monuments dated to 357 AD. In its earliest uses, the zero served as a place holder, indicating an absence of a particular calendrical count. This later developed into a numeral that was used to perform calculation, and was used in hieroglyphic texts for more than a thousand years, until the writing system was extinguished by the Spanish.
The basic number system consists of a dot to represent one, and a bar to represent five. By the Postclassic period a shell symbol represented zero; during the Classic period other glyphs were used. The Maya numerals from 0 to 19 used repetitions of these symbols. The value of a numeral was determined by its position; as a numeral shifted upwards, its basic value multiplied by twenty. In this way, the lowest symbol would represent units, the next symbol up would represent multiples of twenty, and the symbol above that would represent multiples of 400, and so on. For example, the number 884 would be written with four dots on the lowest level, four dots on the next level up, and two dots on the next level after that, to give 4×1 + 4×20 + 2×400 = 884. Using this system, the Maya were able to record huge numbers. Simple addition could be performed by summing the dots and bars in two columns to give the result in a third column.
Calendar
The Maya calendrical system, in common with other Mesoamerican calendars, had its origins in the Preclassic period. However, it was the Maya that developed the calendar to its maximum sophistication, recording lunar and solar cycles, eclipses and movements of planets with great accuracy. In some cases, the Maya calculations were more accurate than equivalent calculations in the Old World; for example, the Maya solar year was calculated to greater accuracy than the Julian year. The Maya calendar was intrinsically tied to Maya ritual, and it was central to Maya religious practices. The calendar combined a non-repeating Long Count with three interlocking cycles, each measuring a progressively larger period. These were the 260-day tzolkʼin, the 365-day haabʼ, and the 52-year Calendar Round, resulting from the combination of the tzolkʼin with the haab'. There were also additional calendric cycles, such as an 819-day cycle associated with the four quadrants of Maya cosmology, governed by four different aspects of the god Kʼawiil.
The basic unit in the Maya calendar was one day, or kʼin, and 20 kʼin grouped to form a winal. The next unit, instead of being multiplied by 20, as called for by the vigesimal system, was multiplied by 18 in order to provide a rough approximation of the solar year (hence producing 360 days). This 360-day year was called a tun. Each succeeding level of multiplication followed the vigesimal system.
The 260-day tzolkʼin provided the basic cycle of Maya ceremony, and the foundations of Maya prophecy. No astronomical basis for this count has been proved, and it may be that the 260-day count is based on the human gestation period. This is reinforced by the use of the tzolkʼin to record dates of birth, and provide corresponding prophecy. The 260-day cycle repeated a series of 20-day-names, with a number from 1 to 13 prefixed to indicated where in the cycle a particular day occurred.
The 365-day haab was produced by a cycle of eighteen named 20-day winals, completed by the addition of a 5-day period called the wayeb. The wayeb was considered to be a dangerous time, when the barriers between the mortal and supernatural realms were broken, allowing malignant deities to cross over and interfere in human concerns. In a similar way to the tzʼolkin, the named winal would be prefixed by a number (from 0 to 19), in the case of the shorter wayeb period, the prefix numbers ran 0 to 4. Since each day in the tzʼolkin had a name and number (e.g. 8 Ajaw), this would interlock with the haab, producing an additional number and name, to give any day a more complete designation, for example 8 Ajaw 13 Keh. Such a day name could only recur once every 52 years, and this period is referred to by Mayanists as the Calendar Round. In most Mesoamerican cultures, the Calendar Round was the largest unit for measuring time.
As with any non-repeating calendar, the Maya measured time from a fixed start point. The Maya set the beginning of their calendar as the end of a previous cycle of bakʼtuns, equivalent to a day in 3114 BC. This was believed by the Maya to be the day of the creation of the world in its current form. The Maya used the Long Count Calendar to fix any given day of the Calendar Round within their current great Piktun cycle consisting of either 20 bakʼtuns. There was some variation in the calendar, specifically texts in Palenque demonstrate that the piktun cycle that ended in 3114 BC had only 13 bakʼtuns, but others used a cycle of 13 + 20 bakʼtun in the current piktun. Additionally, there may have been some regional variation in how these exceptional cycles were managed.
A full long count date consisted of an introductory glyph followed by five glyphs counting off the number of bakʼtuns, katʼuns, tuns, winals, and kʼins since the start of the current creation. This would be followed by the tzʼolkin portion of the Calendar Round date, and after a number of intervening glyphs, the Long Count date would end with the Haab portion of the Calendar Round date.
Correlation of the Long Count calendar
Although the Calendar Round is still in use today, the Maya started using an abbreviated Short Count during the Late Classic period. The Short Count is a count of 13 kʼatuns. The Book of Chilam Balam of Chumayel contains the only colonial reference to classic long-count dates. The most generally accepted correlation is the Goodman-Martínez-Thompson, or GMT, correlation. This equates the Long Count date 11.16.0.0.0 13 Ajaw 8 Xul with the Gregorian date of 12 November 1539. Epigraphers Simon Martin and Nikolai Grube argue for a two-day shift from the standard GMT correlation. The Spinden Correlation would shift the Long Count dates back by 260 years; it also accords with the documentary evidence, and is better suited to the archaeology of the Yucatán Peninsula, but presents problems with the rest of the Maya region. The George Vaillant Correlation would shift all Maya dates 260 years later, and would greatly shorten the Postclassic period. Radiocarbon dating of dated wooden lintels at Tikal supports the GMT correlation.
Astronomy
The Maya made meticulous observations of celestial bodies, patiently recording astronomical data on the movements of the sun, moon, Venus, and the stars. This information was used for divination, so Maya astronomy was essentially for astrological purposes. Although Maya astronomy was mainly used by the priesthood to comprehend past cycles of time, and project them into the future to produce prophecy, it also had some practical applications, such as providing aid in crop planting and harvesting. The priesthood refined observations and recorded eclipses of the sun and moon, and movements of Venus and the stars; these were measured against dated events in the past, on the assumption that similar events would occur in the future when the same astronomical conditions prevailed. Illustrations in the codices show that priests made astronomical observations using the naked eye, assisted by crossed sticks as a sighting device. Analysis of the few remaining Postclassic codices has revealed that, at the time of European contact, the Maya had recorded eclipse tables, calendars, and astronomical knowledge that was more accurate at that time than comparable knowledge in Europe.
The Maya measured the 584-day Venus cycle with an error of just two hours. Five cycles of Venus equated to eight 365-day haab calendrical cycles, and this period was recorded in the codices. The Maya also followed the movements of Jupiter, Mars and Mercury. When Venus rose as the Morning Star, this was associated with the rebirth of the Maya Hero Twins. For the Maya, the heliacal rising of Venus was associated with destruction and upheaval. Venus was closely associated with warfare, and the hieroglyph meaning "war" incorporated the glyph-element symbolizing the planet. Sight-lines through the windows of the Caracol building at Chichen Itza align with the northernmost and southernmost extremes of Venus' path. Maya rulers launched military campaigns to coincide with the heliacal or cosmical rising of Venus, and would also sacrifice important captives to coincide with such conjunctions.
Solar and lunar eclipses were considered to be especially dangerous events that could bring catastrophe upon the world. In the Dresden Codex, a solar eclipse is represented by a serpent devouring the kʼin ("day") hieroglyph. Eclipses were interpreted as the sun or moon being bitten, and lunar tables were recorded in order that the Maya might be able to predict them, and perform the appropriate ceremonies to ward off disaster.
Religion and mythology
In common with the rest of Mesoamerica, the Maya believed in a supernatural realm inhabited by an array of powerful deities who needed to be placated with ceremonial offerings and ritual practices. At the core of Maya religious practice was the worship of deceased ancestors, who would intercede for their living descendants in dealings with the supernatural realm. The earliest intermediaries between humans and the supernatural were shamans. Maya ritual included the use of hallucinogens for chilan, oracular priests. Visions for the chilan were likely facilitated by consumption of water lilies, which are hallucinogenic in high doses. As the Maya civilization developed, the ruling elite codified the Maya world view into religious cults that justified their right to rule. In the Late Preclassic, this process culminated in the institution of the divine king, the kʼuhul ajaw, endowed with ultimate political and religious power.
The Maya viewed the cosmos as highly structured. There were thirteen levels in the heavens and nine in the underworld, with the mortal world in between. Each level had four cardinal directions associated with a different colour; north was white, east was red, south was yellow, and west was black. Major deities had aspects associated with these directions and colours.
Maya households interred their dead underneath the floors, with offerings appropriate to the social status of the family. There the dead could act as protective ancestors. Maya lineages were patrilineal, so the worship of a prominent male ancestor would be emphasised, often with a household shrine. As Maya society developed, and the elite became more powerful, Maya royalty developed their household shrines into the great pyramids that held the tombs of their ancestors.
Belief in supernatural forces pervaded Maya life and influenced every aspect of it, from the simplest day-to-day activities such as food preparation, to trade, politics, and elite activities. Maya deities governed all aspects of the world, both visible and invisible. The Maya priesthood was a closed group, drawing its members from the established elite; by the Early Classic they were recording increasingly complex ritual information in their hieroglyphic books, including astronomical observations, calendrical cycles, history and mythology. The priests performed public ceremonies that incorporated feasting, bloodletting, incense burning, music, ritual dance, and, on certain occasions, human sacrifice. During the Classic period, the Maya ruler was the high priest, and the direct conduit between mortals and the gods. It is highly likely that, among commoners, shamanism continued in parallel to state religion. By the Postclassic, religious emphasis had changed; there was an increase in worship of the images of deities, and more frequent recourse to human sacrifice.
Archaeologists painstakingly reconstruct these ritual practices and beliefs using several techniques. One important, though incomplete, resource is physical evidence, such as dedicatory caches and other ritual deposits, shrines, and burials with their associated funerary offerings. Maya art, architecture, and writing are another resource, and these can be combined with ethnographic sources, including records of Maya religious practices made by the Spanish during the conquest.
Human sacrifice
Blood was viewed as a potent source of nourishment for the Maya deities, and the sacrifice of a living creature was a powerful blood offering. By extension, the sacrifice of a human life was the ultimate offering of blood to the gods, and the most important Maya rituals culminated in human sacrifice. Generally only high status prisoners of war were sacrificed, with lower status captives being used for labour.
Important rituals such as the dedication of major building projects or the enthronement of a new ruler required a human offering. The sacrifice of an enemy king was the most prized, and such a sacrifice involved decapitation of the captive ruler, perhaps in a ritual reenactment of the decapitation of the Maya maize god by the death gods. In AD 738, the vassal king Kʼakʼ Tiliw Chan Yopaat of Quiriguá captured his overlord, Uaxaclajuun Ubʼaah Kʼawiil of Copán and a few days later ritually decapitated him. Sacrifice by decapitation is depicted in Classic period Maya art, and sometimes took place after the victim was tortured, being variously beaten, scalped, burnt or disembowelled. Another myth associated with decapitation was that of the Hero Twins recounted in the Popol Vuh: playing a ballgame against the gods of the underworld, the heroes achieved victory, but one of each pair of twins was decapitated by their opponents.
During the Postclassic period, the most common form of human sacrifice was heart extraction, influenced by the rites of the Aztecs in the Valley of Mexico; this usually took place in the courtyard of a temple, or upon the summit of the pyramid. In one ritual, the corpse would be skinned by assistant priests, except for the hands and feet, and the officiating priest would then dress himself in the skin of the sacrificial victim and perform a ritual dance symbolizing the rebirth of life. Archaeological investigations indicate that heart sacrifice was practised as early as the Classic period.
Deities
The Maya world was populated by a great variety of deities, supernatural entities and sacred forces. The Maya had such a broad interpretation of the sacred that identifying distinct deities with specific functions is inaccurate. The Maya interpretation of deities was closely tied to the calendar, astronomy, and their cosmology. The importance of a deity, its characteristics, and its associations varied according to the movement of celestial bodies. The priestly interpretation of astronomical records and books was therefore crucial, since the priest would understand which deity required ritual propitiation, when the correct ceremonies should be performed, and what would be an appropriate offering. Each deity had four manifestations, associated with the cardinal directions, each identified with a different colour. They also had a dual day-night/life-death aspect.
Itzamna was the creator god, but he also embodied the cosmos, and was simultaneously a sun god; Kʼinich Ahau, the day sun, was one of his aspects. Maya kings frequently identified themselves with Kʼinich Ahau. Itzamna also had a night sun aspect, the Night Jaguar, representing the sun in its journey through the underworld. The four Pawatuns supported the corners of the mortal realm; in the heavens, the Bacabs performed the same function. As well as their four main aspects, the Bakabs had dozens of other aspects that are not well understood. The four Chaacs were storm gods, controlling thunder, lightning, and the rains. The nine lords of the night each governed one of the underworld realms. Other important deities included the moon goddess, the maize god, and the Hero Twins.
The Popol Vuh was written in the Latin script in early colonial times, and was probably transcribed from a hieroglyphic book by an unknown Kʼicheʼ Maya nobleman. It is one of the most outstanding works of indigenous literature in the Americas. The Popul Vuh recounts the mythical creation of the world, the legend of the Hero Twins, and the history of the Postclassic Kʼicheʼ kingdom. Deities recorded in the Popul Vuh include Hun Hunahpu, believed by some to be the Kʼicheʼ maize god, and a triad of deities led by the Kʼicheʼ patron Tohil, and also including the moon goddess Awilix, and the mountain god Jacawitz.
In common with other Mesoamerican cultures, the Maya worshipped feathered serpent deities. Such worship was rare during the Classic period, but by the Postclassic the feathered serpent had spread to both the Yucatán Peninsula and the Guatemalan Highlands. In Yucatán, the feathered serpent deity was Kukulkan, among the Kʼicheʼ it was Qʼuqʼumatz. Kukulkan had his origins in the Classic period War Serpent, Waxaklahun Ubah Kan'', and has also been identified as the Postclassic version of the Vision Serpent of Classic Maya art. Although the cult of Kukulkan had its origins in these earlier Maya traditions, the worship of Kukulkan was heavily influenced by the Quetzalcoatl cult of central Mexico. Likewise, Qʼuqʼumatz had a composite origin, combining the attributes of Mexican Quetzalcoatl with aspects of the Classic period Itzamna.
Agriculture
The ancient Maya had diverse and sophisticated methods of food production. It was believed that shifting cultivation (swidden) agriculture provided most of their food, but it is now thought that permanent raised fields, terracing, intensive gardening, forest gardens, and managed fallows were also crucial to supporting the large populations of the Classic period in some areas. Indeed, evidence of these different agricultural systems persist today: raised fields connected by canals can be seen on aerial photographs. Contemporary rainforest species composition has significantly higher abundance of species of economic value to ancient Maya in areas that were densely populated in pre-Columbian times, and pollen records in lake sediments suggest that maize, manioc, sunflower seeds, cotton, and other crops have been cultivated in association with deforestation in Mesoamerica since at least 2500 BC.
The basic staples of the Maya diet were maize, beans, and squashes. These were supplemented with a wide variety of other plants either cultivated in gardens or gathered in the forest. At Joya de Cerén, a volcanic eruption preserved a record of foodstuffs stored in Maya homes, among them were chilies and tomatoes. Cotton seeds were in the process of being ground, perhaps to produce cooking oil. In addition to basic foodstuffs, the Maya also cultivated prestige crops such as cotton, cacao and vanilla. Cacao was especially prized by the elite, who consumed chocolate beverages. Cotton was spun, dyed, and woven into valuable textiles in order to be traded.
The Maya had few domestic animals; dogs were domesticated by 3000 BC, and the Muscovy duck by the Late Postclassic. Ocellated turkeys were unsuitable for domestication, but were rounded up in the wild and penned for fattening. All of these were used as food animals; dogs were additionally used for hunting. It is possible that deer were also penned and fattened.
Maya sites
There are hundreds of Maya sites spread across five countries: Belize, El Salvador, Guatemala, Honduras and Mexico.
The six sites with particularly outstanding architecture or sculpture are Chichen Itza, Palenque, Uxmal, and Yaxchilan in Mexico, Tikal in Guatemala and Copán in Honduras. Other important, but difficult to reach, sites include Calakmul and El Mirador. The principal sites in the Puuc region, after Uxmal, are Kabah, Labna, and Sayil. In the east of the Yucatán Peninsula are Coba and the small site of Tulum. The Río Bec sites of the base of the peninsula include Becan, Chicanná, Kohunlich, and Xpuhil. The most noteworthy sites in Chiapas, other than Palenque and Yaxchilan, are Bonampak and Toniná. In the Guatemalan Highlands are Iximche, Kaminaljuyu, Mixco Viejo, and Qʼumarkaj (also known as Utatlán). In the northern Petén lowlands of Guatemala there are many sites, though apart from Tikal access is generally difficult. Some of the Petén sites are Dos Pilas, Seibal, and Uaxactún. Important sites in Belize include Altun Ha, Caracol, and Xunantunich.
Museum collections
There are many museums across the world with Maya artefacts in their collections. The Foundation for the Advancement of Mesoamerican Studies lists over 250 museums in its Maya Museum database, and the European Association of Mayanists lists just under 50 museums in Europe alone.
See also
Entheogenics and the Maya
Huastec civilization
Index of Mexico-related articles
Songs of Dzitbalche
References
Bibliography
Alt URL
Full list from FAMSI archived from the original on 2015-06-08.
Further reading
External links
Foundation for the Advancement of Mesoamerican Studies, Inc. (FAMSI)
Primary sources of Maya history – part one by Ronald A. Barnett
Mesoweb by Joel Skidmore.
Maya Map – A map of the Maya civilization.
Former monarchies of North America
History of Guatemala
History of Belize
History of Chiapas
History of El Salvador
History of Honduras
2nd-millennium BC establishments
1697 disestablishments in North America
Former countries in North America
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"Eight Ball is a 1992 Australian film directed by Ray Argall.\n\nPlot\nA young architect, Charlie, meets Russell, who has just got out of prison.\n\nProduction\nIt was financed by the FFC and Film Victoria and was shot from 13 May to 28 June 1991. Argall says making the film was unsatisfactory:\n I spent too much time and put too much energy into making everybody else happy and doing the right thing by everybody else instead of doing the right thing by myself. There's a point where you need to actually focus on what is there. There were many elements of the storytelling that I could have focused on and developed, rather than just dropping and replacing them with something new, and it may have helped. The romance between the main character and his girlfriend - there was a great desire on the part of quite a few of the people who were financing it, to develop this and to make it a strong element. It's not a real strength of mine, and I did all that, but at the expense of other elements that were probably more in tune with the story that I originally had in mind. I developed those things but in the editing room we probably cut it down to what it was in the original script.\n\nReferences\n\nExternal links\n \n Eight Ball at Oz Movies\n\n1992 films\nAustralian films\nEnglish-language films",
"The situation, task, action, result (STAR) format is a technique used by interviewers to gather all the relevant information about a specific capability that the job requires. \n\n Situation: The interviewer wants you to present a recent challenging situation in which you found yourself.\n Task: What were you required to achieve? The interviewer will be looking to see what you were trying to achieve from the situation. Some performance development methods use “Target” rather than “Task”. Job interview candidates who describe a “Target” they set themselves instead of an externally imposed “Task” emphasize their own intrinsic motivation to perform and to develop their performance.\n Action: What did you do? The interviewer will be looking for information on what you did, why you did it and what the alternatives were.\n Results: What was the outcome of your actions? What did you achieve through your actions? Did you meet your objectives? What did you learn from this experience? Have you used this learning since?\n\nThe STAR technique is similar to the SOARA technique.\n\nThe STAR technique is also often complemented with an additional R on the end STARR or STAR(R) with the last R resembling reflection. This R aims to gather insight and interviewee's ability to learn and iterate. Whereas the STAR reveals how and what kind of result on an objective was achieved, the STARR with the additional R helps the interviewer to understand what the interviewee learned from the experience and how they would assimilate experiences. The interviewee can define what they would do (differently, the same, or better) next time being posed with a situation.\n\nReferences\n\nExternal links\nThe ‘STAR’ technique to answer behavioral interview questions\nThe STAR method explained\n\nJob interview"
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"Walter Cronkite",
"Anchor of the CBS Evening News"
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C_6ff1c1bd96ab4d89bc212590b574ea85_0
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When did Walter join CBS Evening news?
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When did Walter Cronkite join the CBS Evening news?
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Walter Cronkite
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On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news. During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored the Huntley-Brinkley Report. For much of the 1960s, the Huntley-Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley-Brinkley Report in viewership during the summer months. In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981. One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981. CANNOTANSWER
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but later the CBS Evening News on September 2, 1963,
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Walter Leland Cronkite Jr. (November 4, 1916 – July 17, 2009) was an American broadcast journalist who served as anchorman for the CBS Evening News for 19 years (1962–1981). During the 1960s and 1970s, he was often cited as "the most trusted man in America" after being so named in an opinion poll. Cronkite reported many events from 1937 to 1981, including bombings in World War II; the Nuremberg trials; combat in the Vietnam War; the Dawson's Field hijackings; Watergate; the Iran Hostage Crisis; and the assassinations of President John F. Kennedy, civil rights pioneer Martin Luther King Jr., and Beatles musician John Lennon. He was also known for his extensive coverage of the U.S. space program, from Project Mercury to the Moon landings to the Space Shuttle. He was the only non-NASA recipient of an Ambassador of Exploration award. Cronkite is known for his departing catchphrase, "And that's the way it is", followed by the date of the broadcast.
Early life and education
Cronkite was born on November 4, 1916, in Saint Joseph, Missouri, the son of Helen Lena (née Fritsche) and Dr. Walter Leland Cronkite, a dentist.
Cronkite lived in Kansas City, Missouri, until he was ten, when his family moved to Houston, Texas. He attended elementary school at Woodrow Wilson Elementary School (now Baker Montessori School), junior high school at Lanier Junior High School (now Lanier Middle School) in Houston, and high school at San Jacinto High School, where he edited the high school newspaper. He was a member of the Boy Scouts. He attended college at the University of Texas at Austin (UT), entering in the Fall term of 1933, where he worked on the Daily Texan and became a member of the Nu chapter of the Chi Phi Fraternity. He also was a member of the Houston chapter of DeMolay, a Masonic fraternal organization for boys. While attending UT, Cronkite had his first taste of performance, appearing in a play with fellow student Eli Wallach. He dropped out in 1935, not returning for the Fall term, in order to concentrate on journalism.
Career
He dropped out of college in his junior year, in the fall term of 1935, after starting a series of newspaper reporting jobs covering news and sports. He entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma. In 1936, he met his future wife, Mary Elizabeth "Betsy" Maxwell, while working as the sports announcer for KCMO (AM) in Kansas City, Missouri. His broadcast name was "Walter Wilcox". He would explain later that radio stations at the time did not want people to use their real names for fear of taking their listeners with them if they left. In Kansas City, he joined the United Press International in 1937.
With his name now established, he received a job offer from Edward R. Murrow at CBS News to join the Murrow Boys team of war correspondents, relieving Bill Downs as the head of the Moscow bureau. CBS offered Cronkite $125 ($2,235 in 2020 money) a week along with "commercial fees" amounting to $25 ($447 in 2020) for almost every time Cronkite reported on air. Up to that point, he had been making $57.50 ($1,027 in 2020) per week at UP, but he had reservations about broadcasting. He initially accepted the offer. When he informed his boss Harrison Salisbury, UP countered with a raise of $17.50 ($312 in 2020) per week; Hugh Baillie also offered him an extra $20 ($357 in 2020) per week to stay. Cronkite ultimately accepted the UP offer, a move which angered Murrow and drove a wedge between them that would last for years.
Cronkite became one of the top American reporters in World War II, covering battles in North Africa and Europe. He was on board starting in Norfolk, Virginia, through her service off the coast of North Africa as part of Operation Torch, and thence back to the US. On the return trip, Cronkite was flown off Texas in one of her Vought OS2U Kingfisher aircraft when Norfolk was within flying distance. He was granted permission to be flown the rest of the distance to Norfolk so that he could outpace a rival correspondent on to return to the US and to issue the first uncensored news reports to be published about Operation Torch. Cronkite's experiences aboard Texas launched his career as a war correspondent. Subsequently, he was one of eight journalists selected by the United States Army Air Forces to fly bombing raids over Germany in a Boeing B-17 Flying Fortress part of group called The Writing 69th, and during a mission fired a machine gun at a German fighter. He also landed in a glider with the 101st Airborne Division in Operation Market Garden and covered the Battle of the Bulge. After the war, he covered the Nuremberg trials and served as the United Press main reporter in Moscow from 1946 to 1948.
Early years at CBS
In 1950, Cronkite joined CBS News in its young and growing television division, again recruited by Murrow. Cronkite began working at WTOP-TV (now WUSA), the CBS affiliate in Washington, D.C.. He originally served as anchor of the network's 15-minute late-Sunday-evening newscast Up To the Minute, which followed What's My Line? at 11:00 pm ET from 1951 through 1962.
Although it was widely reported that the term "anchor" was coined to describe Cronkite's role at both the Democratic and Republican National Conventions, marking the first nationally televised convention coverage, other news presenters bore the title before him. Cronkite anchored the network's coverage of the 1952 presidential election as well as later conventions. In 1964 he was temporarily replaced by the team of Robert Trout and Roger Mudd; this proved to be a mistake, and Cronkite returned to the anchor chair for future political conventions.
From 1953 to 1957, Cronkite hosted the CBS program You Are There, which reenacted historical events, using the format of a news report. His famous last line for these programs was: "What sort of day was it? A day like all days, filled with those events that alter and illuminate our times ... and you were there." In 1971, the show was revived and redesigned to attract an audience of teenagers and young adults, hosted again by Cronkite on Saturday mornings. In 1957, he began hosting The Twentieth Century (eventually renamed The 20th Century), a documentary series about important historical events of the century composed almost exclusively of newsreel footage and interviews. A long-running hit, the show was again renamed as The 21st Century in 1967 with Cronkite hosting speculative reporting on the future for another three years. Cronkite also hosted It's News to Me, a game show based on news events.
During the presidential elections of 1952 and 1956 Cronkite hosted the CBS news-discussion series Pick the Winner.
Another of his network assignments was The Morning Show, CBS' short-lived challenge to NBC's Today in 1954. His on-air duties included interviewing guests and chatting with a lion puppet named Charlemane about the news. He considered this discourse with a puppet as "one of the highlights" of the show. He added, "A puppet can render opinions on people and things that a human commentator would not feel free to utter. I was and I am proud of it." Cronkite also angered the R. J. Reynolds Tobacco Company, the show's sponsor, by grammatically correcting its advertising slogan. Instead of saying "Winston tastes good like a cigarette should" verbatim, he substituted "as" for "like."
He was the lead broadcaster of the network's coverage of the 1960 Winter Olympics, the first-ever time such an event was televised in the United States. He replaced Jim McKay, who had suffered a mental breakdown.
Anchor of the CBS Evening News
On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.
During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored The Huntley–Brinkley Report. For much of the 1960s, The Huntley–Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley–Brinkley Report in viewership during the summer months.
In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 Moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981.
One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981.
Historic moments
Kennedy's assassination
Cronkite is vividly remembered for breaking the news of the assassination of John F. Kennedy on Friday, November 22, 1963. Cronkite had been standing at the United Press International wire machine in the CBS newsroom as the bulletin of the President's shooting broke and he clamored to get on the air to break the news as he wanted CBS to be the first network to do so.
There was a problem facing the crew in the newsroom, however. There was no television camera in the studio at the time as the technical crew was working on it. Eventually, the camera was retrieved and brought back to the newsroom. Because of the magnitude of the story and the continuous flow of information coming from various sources, time was of the essence but the camera would take at least twenty minutes to become operational under normal circumstances. The decision was made to dispatch Cronkite to the CBS Radio Network booth to report the events and play the audio over the television airwaves while the crew worked on the camera to see if they could get it set up quicker.
Meanwhile, CBS was ten minutes into its live broadcast of the soap opera As the World Turns (ATWT), which had begun at the very minute of the shooting. A "CBS News Bulletin" bumper slide abruptly broke into the broadcast at 1:40 pm EST. Over the slide, Cronkite began reading what would be the first of three audio-only bulletins that were filed in the next twenty minutes:
While Cronkite was reading this bulletin, a second one arrived, mentioning the severity of Kennedy's wounds:
Just before the bulletin cut out, a CBS News staffer was heard saying "Connally too," apparently having just heard the news that Texas Governor John Connally had also been shot while riding in the presidential limousine with his wife Nellie and Mr. and Mrs. Kennedy.
CBS then rejoined the telecast of ATWT during a commercial break, which was followed by show announcer Dan McCullough's usual fee plug for the first half of the program and the network's 1:45 pm station identification break. Just before the second half of ATWT was to begin, the network broke in with the bumper slide a second time. In this bulletin Cronkite reported in greater detail about the assassination attempt on the President, while also breaking the news of Governor Connally's shooting.
Cronkite then recapped the events as they had happened: that the President and Governor Connally had been shot and were in the emergency room at Parkland Hospital, and no one knew their condition as yet. CBS then decided to return to ATWT, which was now midway through its second segment.
The cast had continued to perform live while Cronkite's bulletins broke into the broadcast, unaware of the unfolding events in Dallas. ATWT then took another scheduled commercial break. The segment before the break would be the last anyone would see of any network's programming until Tuesday, November 26. During the commercial, the bumper slide interrupted the proceedings again and Cronkite updated the viewers on the situation in Dallas. This bulletin went into more detail than the other two, revealing that Kennedy had been shot in the head, Connally in the chest. Cronkite remained on the air for the next ten minutes, continuing to read bulletins as they were handed to him, and recapping the events as they were known. He also related a report given to reporters by Texas Congressman Albert Thomas that the President and Governor were still alive, the first indication of their condition. At 2:00 pm EST, with the top of the hour station break looming, Cronkite told the audience that there would be a brief pause so that all of CBS' affiliates, including those in the Mountain and Pacific time zones which were not on the same schedule, could join the network. He then left the radio booth and went to the anchor desk in the newsroom.
Within twenty seconds of the announcement, every CBS affiliate except Dallas' KRLD (which was providing local coverage) was airing the network's feed. The camera was finally operational by this time and enabled the audience to see Cronkite, who was clad in shirt and tie but without his suit coat, given the urgent nature of the story. Cronkite reminded the audience, again, of the attempt made on the life of the President and tossed to KRLD news director Eddie Barker at the Dallas Trade Mart, where Kennedy was supposed to be making a speech before he was shot. Barker relayed information that Kennedy's condition was extremely critical. Then, after a prayer for Kennedy, Barker quoted an unofficial report that the President was dead but stressed it was not confirmed.
After several minutes, the coverage came back to the CBS newsroom where Cronkite reported that the President had been given blood transfusions and two priests had been called into the room. He also played an audio report from KRLD that someone had been arrested in the assassination attempt at the Texas School Book Depository. Back in Dallas Barker announced another report of the death of the President, mentioning that it came from a reliable source. Before the network left KRLD's feed for good, Barker first announced, then retracted, a confirmation of Kennedy's death.
CBS cut back to Cronkite reporting that one of the priests had administered last rites to the president. In the next few minutes, several more bulletins reporting that Kennedy had died were given to Cronkite, including one from CBS's own correspondent Dan Rather that had been reported as confirmation of Kennedy's demise by CBS Radio. As these bulletins came into the newsroom, it was becoming clearer that Kennedy had in fact lost his life. Cronkite, however, stressed that these bulletins were simply reports and not any official confirmation of the President's condition; some of his colleagues recounted in 2013 that his early career as a wire service reporter taught him to wait for official word before reporting a story. Still, as more word came in, Cronkite seemed to be resigned to the fact that it was only a matter of time before the assassination was confirmed. He appeared to concede this when, several minutes after he received the Rather report, he received word that the two priests who gave the last rites to Kennedy told reporters on the scene that he was dead. Cronkite said that report "seems to be as close to official as we can get", but would not declare it as such. Nor did he do so with a report from Washington, DC that came moments later, which said that government sources were now reporting the President was dead (this information was passed on to ABC as well, which took it as official confirmation and reported it as such; NBC did not report this information at all and chose instead to rely on reports from Charles Murphy and Robert MacNeil to confirm their suspicions).
At 2:38 pm EST, while filling in time with some observations about the security presence in Dallas, which had been increased due to violent acts against United Nations Ambassador Adlai Stevenson in the city earlier that year, Cronkite was handed a new bulletin. After looking it over for a moment, he took off his glasses, and made the official announcement:
After making that announcement, Cronkite paused briefly, put his glasses back on, and swallowed hard to maintain his composure. With noticeable emotion in his voice he intoned the next sentence of the news report:
With emotion still in his voice and eyes watering, Cronkite once again recapped the events after collecting himself, incorporating some wire photos of the visit and explaining the significance of the pictures now that Kennedy was dead. He reminded the viewers that Vice President Johnson was now the President and was to be sworn in, that Governor Connally's condition was still unknown, and that there was no report of whether the assassin had been captured. He then handed the anchor position to Charles Collingwood, who had just entered the newsroom, took his suit coat, and left the room for a while.
At about 3:30 pm EST, Cronkite came back into the newsroom to relay some new information. The two major pieces of information involved the Oath of Office being administered to now-President Johnson, which officially made him the thirty-sixth President, and that Dallas police had arrested a man named Lee Harvey Oswald whom they suspected had fired the fatal shots. After that, Cronkite left again to begin preparing for that night's CBS Evening News, which he returned to anchor as normal. For the next four days, along with his colleagues, Cronkite continued to report segments of uninterrupted coverage of the assassination, including the announcement of Oswald's death in the hands of Jack Ruby on Sunday. The next day, on the day of the funeral, Cronkite concluded CBS Evening News with the following assessment about the events of the last four dark days:
Referring to his coverage of Kennedy's assassination, in a 2006 TV interview with Nick Clooney, Cronkite recalled,
In a 2003 CBS special commemorating the 40th anniversary of the assassination, Cronkite recalled his reaction upon having the death confirmed to him, he said,
According to historian Douglas Brinkley, Cronkite provided a sense of perspective throughout the unfolding sequence of disturbing events.
Vietnam War
In mid-February 1968, on the urging of his executive producer Ernest Leiser, Cronkite and Leiser journeyed to Vietnam to cover the aftermath of the Tet Offensive. They were invited to dine with General Creighton Abrams, the commander of all forces in Vietnam, whom Cronkite knew from World War II. According to Leiser, Abrams told Cronkite, "we cannot win this Goddamned war, and we ought to find a dignified way out."
Upon return, Cronkite and Leiser wrote separate editorial reports based on that trip. Cronkite, an excellent writer, preferred Leiser's text over his own. On February 27, 1968, Cronkite closed "Report from Vietnam: Who, What, When, Where, Why?" with that editorial report:
Following Cronkite's editorial report, President Lyndon B. Johnson is claimed by some to have said, "If I've lost Cronkite, I've lost Middle America." However, this account of Johnson has been questioned by other observers in books on journalistic accuracy. At the time the editorial aired, Johnson was in Austin, Texas, attending Texas Governor John Connally's birthday gala and was giving a speech in his honor.
In his book This Just In: What I Couldn't Tell You on TV, CBS News correspondent Bob Schieffer, who was serving as a reporter for the Fort Worth Star-Telegram when Cronkite's editorial aired, acknowledged that Johnson did not see the original broadcast but also defended the allegation that Johnson had made the remark. According to Schieffer, Johnson's aide George Christian "told me that the President apparently saw some clips of it the next day" and that "That's when he made the remark about Cronkite. But he knew then that it would take more than Americans were willing to give it." When asked about the remark during a 1979 interview, Christian claimed he had no recollection about what the President had said. In his 1996 memoir A Reporter's Life, Cronkite claimed he was at first unsure about how much of an impact his editorial report had on Johnson's decision to drop his bid for re-election, and what eventually convinced him the President had made the statement was a recount from Bill Moyers, a journalist and former aide to Johnson.
Several weeks later, Johnson, who sought to preserve his legacy and was now convinced his declining health could not withstand growing public criticism, announced he would not seek reelection.
During the 1968 Democratic National Convention in Chicago, Cronkite was anchoring the CBS network coverage as violence and protests occurred outside the convention, as well as scuffles inside the convention hall. When Dan Rather was punched to the floor (on camera) by security personnel, Cronkite commented, "I think we've got a bunch of thugs here, Dan."
Other historic events
The first publicly transmitted live trans-Atlantic program was broadcast via the Telstar satellite on July 23, 1962, at 3:00 pm EDT, and Cronkite was one of the main presenters in this multinational broadcast. The broadcast was made possible in Europe by Eurovision and in North America by NBC, CBS, ABC, and the CBC. The first public broadcast featured CBS's Cronkite and NBC's Chet Huntley in New York, and the BBC's Richard Dimbleby in Brussels. Cronkite was in the New York studio at Rockefeller Plaza as the first pictures to be transmitted and received were the Statue of Liberty in New York and the Eiffel Tower in Paris. The first segment included a televised major league baseball game between the Philadelphia Phillies and the Chicago Cubs at Wrigley Field. From there, the video switched first to Washington, D.C.; then to Cape Canaveral, Florida; then to Quebec City, Quebec, and finally to Stratford, Ontario. The Washington segment included a press conference with President Kennedy, talking about the price of the American dollar, which was causing concern in Europe. This broadcast inaugurated live intercontinental news coverage, which was perfected later in the sixties with Early Bird and other Intelsat satellites.
General of the Army Dwight D. Eisenhower returned to his former Supreme Headquarters Allied Expeditionary Force (SHAEF) headquarters for an interview by Cronkite on the CBS News Special Report D-Day + 20, telecast on June 6, 1964.
Cronkite is also remembered for his coverage of the United States space program, and at times was visibly enthusiastic, rubbing his hands together on camera with a smile and uttering, "Whew...boy" on July 20, 1969, when the Apollo 11 lunar landing mission put the first men on the Moon.
Cronkite participated in Richard Nixon's 1972 visit to China. Because Cronkite was colorblind, he had to ask others what color of coat First Lady Pat Nixon was wearing when they disembarked in Peking (Beijing).
According to the 2006 PBS documentary on Cronkite, there was "nothing new" in his reports on the Watergate affair; however, Cronkite brought together a wide range of reporting, and his credibility and status is credited by many with pushing the Watergate story to the forefront with the American public, ultimately resulting in the resignation of President Richard M. Nixon on August 9, 1974. Cronkite had anchored the CBS coverage of Nixon's address, announcing his impending resignation, the night before.
The January 22, 1973, broadcast of the CBS Evening News saw Cronkite break the news of the death of another notable American political figure: former president Lyndon B. Johnson. At approximately 6:38 pm Eastern Time, while a pre-recorded report that the Vietnam peace talks in Paris had been successful was being played for the audience, Cronkite received a telephone call in the studio while off camera. The call was from Tom Johnson, the former press secretary for President Johnson who was at the time serving the former chief executive as station manager at KTBC-TV in Austin, Texas, which was affiliated with CBS at the time and was owned by the Johnson family. During the conversation the production staff cut away from the report back to the live camera in studio as Cronkite was still on the phone. After he was made aware that he was back on camera, Cronkite held up a finger to let everyone watching know he required a moment to let Johnson finish talking. Once Cronkite got what he needed, he thanked Johnson and asked him to stay on the line. He then turned to the camera and began to relay what Johnson had said to him.
During the final ten minutes of that broadcast, Cronkite reported on the death, giving a retrospective on the life of the nation's 36th president, and announced that CBS would air a special on Johnson later that evening. This story was re-told on a 2007 CBS-TV special honoring Cronkite's 90th birthday.
NBC-TV's Garrick Utley, anchoring NBC Nightly News that evening, also interrupted his newscast in order to break the story, doing so about three minutes after Cronkite on CBS. The news was not reported on that night's ABC Evening News, which was anchored by Howard K. Smith and Harry Reasoner, because ABC at the time fed their newscast live at 6:00 pm Eastern instead of 6:30 to get a head start on CBS and NBC for those stations that aired ABC Evening News live (although not every affiliate did).
On November 22, 1963, Cronkite introduced The Beatles to the United States by airing a four-minute story about the band on CBS Morning News. The story was scheduled to be shown again on the CBS Evening News that same day, but the assassination of John F. Kennedy prevented the broadcast of the regular evening news. The Beatles story was aired on the evening news program on December 10.
Retirement
On February 14, 1980, Cronkite announced that he intended to retire from the CBS Evening News; at the time, CBS had a policy of mandatory retirement by age 65. Although sometimes compared to a father figure or an uncle figure, in an interview about his retirement he described himself as being more like a "comfortable old shoe" to his audience. His last day in the anchor chair at the CBS Evening News was on March 6, 1981; he was succeeded the following Monday by Dan Rather.
Cronkite's farewell statement:
On the eve of Cronkite's retirement, he appeared on The Tonight Show hosted by Johnny Carson. The following night, Carson did a comic spoof of his on-air farewell address.
Other activities
Post-CBS Evening News
As he had promised on his last show as anchor in 1981, Cronkite continued to broadcast occasionally as a special correspondent for CBS, CNN, and NPR into the 21st century; one such occasion was Cronkite anchoring the second space flight by John Glenn in 1998 as he had Glenn's first in 1962. Cronkite hosted Universe until its cancellation in 1982. In 1983, he reported on the British general election for the ITV current affairs series World In Action, interviewing, among many others, the victorious Prime Minister, Margaret Thatcher. Cronkite hosted the annual Vienna New Year's Concert on PBS from 1985 to 2008, succeeded by Julie Andrews in 2009. For many years, until 2002, he was also the host of the annual Kennedy Center Honors.
In 1998, Cronkite hosted the 90-minute documentary, Silicon Valley: A 100 Year Renaissance, produced by the Santa Clara Valley Historical Association. The film documented Silicon Valley's rise from the origin of Stanford University to the current high-technology powerhouse. The documentary was broadcast on PBS throughout the United States and in 26 countries. Prior to 2004, he could also be seen in the opening movie "Back to Neverland" shown in the Walt Disney World attraction The Magic of Disney Animation, interviewing Robin Williams as if he is still on the CBS News channel, ending his on-camera time with Cronkite's famous catchphrase. In the feature, Cronkite describes the steps taken in the creation of an animated film, while Williams becomes an animated character (and even becomes Cronkite, impersonating his voice). He also was shown inviting Disney guests and tourists to the Disney Classics Theater.
On May 21, 1999, Cronkite participated in a panel discussion on "Integrity in the Media" with Ben Bradlee and Mike McCurry at the Connecticut Forum in Hartford, Connecticut. Cronkite provided an anecdote about taking a picture from a house in Houston, Texas, where a newsworthy event occurred and being praised for getting a unique photograph, only to find out later that the city desk had provided him with the wrong address.
Voice-overs
Cronkite narrated the IMAX film about the Space Shuttle, The Dream is Alive, released in 1985. From May 26, 1986, to August 15, 1994, he was the narrator's voice in the EPCOT Center attraction Spaceship Earth, at Walt Disney World in Orlando, Florida. He provided the pivotal voice of Captain Neweyes in the 1993 animated film We're Back: A Dinosaur's Story, delivering his trademark line at the end. In 1995, he made an appearance on Broadway, providing the voice of the titular book in the 1995 revival of How to Succeed in Business Without Really Trying.
Cronkite was a finalist for NASA's Journalist in Space program, which mirrored the Teacher in Space Project, an opportunity that was suspended after the Challenger disaster in 1986. He recorded voice-overs for the 1995 film Apollo 13, modifying the script he was given to make it more "Cronkitian." In 2002, Cronkite was the voice of Benjamin Franklin in the educational television cartoon Liberty's Kids, which included a news segment ending with the same phrase he did back on the CBS Evening News. This role earned him Daytime Emmy nominations for Outstanding Performer in a Children's Series, in 2003 and 2004, but he did not win. His distinctive voice provided the narration for the television ads of the University of Texas, Austin, his alma mater, with its 'We're Texas' ad campaign.
He held amateur radio operator license KB2GSD and narrated a 2003 American Radio Relay League documentary explaining amateur radio's role in disaster relief. The video tells Amateur Radio's public service story to non-hams, focusing on ham radio's part in helping various agencies respond to wildfires in the Western US during 2002, ham radio in space and the role Amateur Radio plays in emergency communications. "Dozens of radio amateurs helped the police and fire departments and other emergency services maintain communications in New York, Pennsylvania and Washington, DC," narrator Cronkite intoned in reference to ham radio's response to the terrorist attacks on September 11, 2001. Unusually, Cronkite was a Novice-class licensee—the entry level license—for his entire, and long, tenure in the hobby.
On February 15, 2005, he went into the studio at CBS to record narration for WCC Chatham Radio, a documentary about Guglielmo Marconi and his Chatham station, which became the busiest ship-to-shore wireless station in North America from 1914 to 1994. The documentary was directed by Christopher Seufert of Mooncusser Films and premiered at the Chatham Marconi Maritime Center in April 2005. In 2006, Cronkite hosted the World War One Living History Project, a program honoring America's final handful of veterans from the First World War. The program was created by Treehouse Productions and aired on NPR on November 11, 2006. In May 2009, Legacy of War, produced by PBS, was released. Cronkite chronicles, over archive footage, the events following World War II that resulted in America's rise as the dominant world power.
Prior to his death, "Uncle Walter" hosted a number of TV specials and was featured in interviews about the times and events that occurred during his career as America's "most trusted" man. In July 2006, the 90-minute documentary Walter Cronkite: Witness to History aired on PBS. The special was narrated by Katie Couric, who assumed the CBS Evening News anchor chair in September 2006. Cronkite provided the voiceover introduction to Couric's CBS Evening News, which began on September 5, 2006. Cronkite's voiceover was notably not used on introducing the broadcast reporting his funeral – no voiceover was used on this occasion.
TV and movie appearances
Cronkite made a cameo appearance on a 1974 episode of The Mary Tyler Moore Show, in which he met with Lou Grant in his office. Ted Baxter, who at first tried to convince Cronkite that he (Baxter) was as good a newsman as Eric Sevareid, pleaded with Cronkite to hire him for the network news, at least to give sport scores, and gave an example: "The North Stars 3, the Kings Oh!" Cronkite turned to Grant and said, "I'm gonna get you for this!" Cronkite later said that he was disappointed that his scene was filmed in one take, since he had hoped to sit down and chat with the cast.
In the late 1980s and again in the 1990s, Cronkite appeared on the news-oriented situation comedy Murphy Brown as himself. Both episodes were written by the Emmy Award-winning team of Tom Seeley and Norm Gunzenhauser. He also continued hosting a variety of series. In the early 1980s, he was host of the documentary series World War II with Walter Cronkite. In 1991, he hosted the TV documentary Dinosaur! on A&E (not related to the documentary of the same title hosted by Christopher Reeve on CBS six years earlier), and a 1994 follow-up series, Ape Man: The Story of Human Evolution. In 1995, he narrated the World Liberty Concert held in the Netherlands.
Cronkite routinely hosted the Kennedy Center Honors from 1981 to 2002.
Cronkite appeared briefly in the 2005 dramatic documentary The American Ruling Class written by Lewis Lapham; the 2000 film Thirteen Days reporting on the Cuban Missile Crisis; and provided the opening synopsis of the American Space Program leading to the events in Apollo 13 for the 1995 Ron Howard film of the same name.
Political activism
Cronkite wrote a syndicated opinion column for King Features Syndicate. In 2005 and 2006, he contributed to The Huffington Post. Cronkite was the honorary chairman of The Interfaith Alliance. In 2006, he presented the Walter Cronkite Faith and Freedom Award to actor and activist George Clooney on behalf of his organization at its annual dinner in New York.
Cronkite was a vocal advocate for free airtime for political candidates. He worked with the Alliance for Better Campaigns and Common Cause, for instance, on an unsuccessful lobbying effort to have an amendment added to the McCain-Feingold-Shays-Meehan Campaign Finance Reform Act of 2001 that would have required TV broadcast companies to provide free airtime to candidates. Cronkite criticized the present system of campaign finance which allows elections to "be purchased" by special interests, and he noted that all the European democracies "provide their candidates with extensive free airtime." "In fact," Cronkite pointed out, "of all the major nations worldwide that profess to have democracies, only seven – just seven – do not offer free airtime" This put the United States on a list with Ecuador, Honduras, Malaysia, Taiwan, Tanzania, and Trinidad and Tobago. Cronkite concluded that "The failure to give free airtime for our political campaigns endangers our democracy." During the elections held in 2000, the amount spent by candidates in the major TV markets approached $1 billion. "What our campaign asks is that the television industry yield just a tiny percentage of that windfall, less than 1 percent, to fund free airtime."
He was a member of the Constitution Project's bipartisan Liberty and Security Committee. He also supported the nonprofit world hunger organization Heifer International.
In 1998, he supported President Bill Clinton during Clinton's impeachment trial. He was also a proponent of limited world government on the American federalist model, writing fundraising letters for the World Federalist Association (now Citizens for Global Solutions). In accepting the 1999 Norman Cousins Global Governance Award at the ceremony at the United Nations, Cronkite said:
It seems to many of us that if we are to avoid the eventual catastrophic world conflict we must strengthen the United Nations as a first step toward a world government patterned after our own government with a legislature, executive and judiciary, and police to enforce its international laws and keep the peace. To do that, of course, we Americans will have to yield up some of our sovereignty. That would be a bitter pill. It would take a lot of courage, a lot of faith in the new order. But the American colonies did it once and brought forth one of the most nearly perfect unions the world has ever seen.
Cronkite contrasted his support for accountable global government with the opposition to it by politically active Christian fundamentalists in the United States:
Even as with the American rejection of the League of Nations, our failure to live up to our obligations to the United Nations is led by a handful of willful senators who choose to pursue their narrow, selfish political objectives at the cost of our nation's conscience. They pander to and are supported by the Christian Coalition and the rest of the religious right wing. Their leader, Pat Robertson, has written that we should have a world government but only when the messiah arrives. Any attempt to achieve world order before that time must be the work of the Devil! Well join me... I'm glad to sit here at the right hand of Satan.
In 2003, Cronkite, who owned property on Martha's Vineyard, became involved in a long-running debate over his opposition to the construction of a wind farm in that area. In his column, he repeatedly condemned President George W. Bush and the 2003 invasion of Iraq. Cronkite appeared in the 2004 Robert Greenwald film Outfoxed, where he offered commentary on what he said were unethical and overtly political practices at the Fox News Channel. Cronkite remarked that when Fox News was founded by Rupert Murdoch, "it was intended to be a conservative organization – beyond that; a far-right-wing organization". In January 2006, during a press conference to promote the PBS documentary about his career, Cronkite said that he felt the same way about America's presence in Iraq as he had about their presence in Vietnam in 1968 and that he felt America should recall its troops.
Cronkite spoke out against the War on Drugs in support of the Drug Policy Alliance, writing a fundraising letter and appearing in advertisements on behalf of the DPA. In the letter, Cronkite wrote: "Today, our nation is fighting two wars: one abroad and one at home. While the war in Iraq is in the headlines, the other war is still being fought on our own streets. Its casualties are the wasted lives of our own citizens. I am speaking of the war on drugs. And I cannot help but wonder how many more lives, and how much more money, will be wasted before another Robert McNamara admits what is plain for all to see: the war on drugs is a failure."
Personal life
Cronkite was married for nearly 65 years to Mary Elizabeth 'Betsy' Maxwell Cronkite, from March 30, 1940, until her death from cancer on March 15, 2005. They had three children: Nancy Cronkite, Mary Kathleen (Kathy) Cronkite, and Walter Leland (Chip) Cronkite III (who is married to actress Deborah Rush). Cronkite dated singer Joanna Simon from 2005 to 2009.
A grandson, Walter Cronkite IV, now works at CBS. Cronkite's cousin is former Mayor of Kansas City and 2008 Democratic nominee for Missouri's 6th congressional district Kay Barnes.
Cronkite was an accomplished sailor and enjoyed sailing coastal waters of the United States in his custom-built 48-foot Sunward "Wyntje". Cronkite was a member of the United States Coast Guard Auxiliary, with the honorary rank of commodore. Throughout the 1950s, he was an aspiring sports car racer, even racing in the 1959 12 Hours of Sebring.
Cronkite was reported to be a fan of the game Diplomacy, which was rumored to be Henry Kissinger's favorite game.
Death
In June 2009, Cronkite was reported to be terminally ill. He died on July 17, 2009, at his home in New York City aged 92. He is believed to have died from cerebrovascular disease.
Cronkite's funeral took place on July 23, 2009, at St. Bartholomew's Church in midtown Manhattan, New York City. Among many journalists who attended were Tom Brokaw, Connie Chung, Katie Couric, Charles Gibson, Matt Lauer, Dan Rather, Andy Rooney, Morley Safer, Diane Sawyer, Bob Schieffer, Meredith Vieira, Barbara Walters, and Brian Williams. At his funeral, his friends noted his love of music, including, recently, drumming. He was cremated and his remains buried next to his wife, Betsy, in the family plot in Kansas City.
Legacy
Public credibility and trustworthiness
For many years, until a decade after he left his post as anchor, Cronkite was considered one of the most trusted figures in the United States. For most of his 19 years as anchor, he was the "predominant news voice in America." Affectionately known as "Uncle Walter," he covered many of the important news events of the era so effectively that his image and voice are closely associated with the Cuban Missile Crisis, the assassination of President John F. Kennedy, the Vietnam War, the Apollo 11 Moon landing, and the Watergate scandal. USA Today wrote that "few TV figures have ever had as much power as Cronkite did at his height." Enjoying the cult of personality surrounding Cronkite in those years, CBS allowed some good-natured fun-poking at its star anchorman in some episodes of the network's popular situation comedy All in the Family, during which the lead character Archie Bunker would sometimes complain about the newsman, calling him "Pinko Cronkite."
Cronkite trained himself to speak at a rate of 124 words per minute in his newscasts, so that viewers could clearly understand him. In contrast, Americans average about 165 words per minute, and fast, difficult-to-understand talkers speak close to 200 words per minute.
Awards and honors
In 1968, the faculty of the E. W. Scripps School of Journalism at Ohio University voted to award Cronkite the Carr Van Anda Award "for enduring contributions to journalism." In 1970, Cronkite received a "Freedom of the Press" George Polk Award and the Paul White Award from the Radio Television Digital News Association.
In 1972, in recognition of his career, Princeton University's American Whig-Cliosophic Society awarded Cronkite the James Madison Award for Distinguished Public Service.
In 1981, the year he retired, former president Jimmy Carter awarded Cronkite the Presidential Medal of Freedom. In that year, he also received the S. Roger Horchow Award for Greatest Public Service by a Private Citizen, an award given out annually by Jefferson Awards, and the Paul White Award for lifetime achievement from the Radio Television Digital News Association. In 1985, Cronkite was honored with the induction into the Academy of Television Arts and Sciences Hall of Fame. In 1989 he received the Four Freedoms Award for the Freedom of Speech. He was elected to the American Philosophical Society in 1994. In 1995, he received the Ischia International Journalism Award. In 1999, Cronkite received the Rotary National Award for Space Achievement's Corona Award in recognition of a lifetime of achievement in space exploration. He was elected a Fellow of the American Academy of Arts and Sciences in 2003. On March 1, 2006, Cronkite became the first non-astronaut to receive NASA's Ambassador of Exploration Award. Among Cronkite's numerous awards were four Peabody awards for excellence in broadcasting.
In 2003, Cronkite was honored by the Vienna Philharmonic with the Franz Schalk Gold Medal, in view of his contributions to the New Year's Concert and the cultural image of Austria.
Minor planet 6318 Cronkite, discovered in 1990 by Eleanor Helin is named in his honor.
Cronkite School at Arizona State University
A few years after Cronkite retired, Tom Chauncey, a former owner of KOOL-TV, the then-CBS affiliate in Phoenix, contacted Cronkite, an old friend, and asked him if he would be willing to have the journalism school at Arizona State University named after him. Cronkite immediately agreed. The ASU program acquired status and respect from its namesake.
Cronkite was not just a namesake, but he also took the time to interact with the students and staff of the Walter Cronkite School of Journalism and Mass Communication. Cronkite made the trip to Arizona annually to present the Walter Cronkite Award for Excellence in Journalism to a leader in the field of media.
"The values that Mr. Cronkite embodies – excellence, integrity, accuracy, fairness, objectivity – we try to instill in our students each and every day. There is no better role model for our faculty or our students," said Dean Christopher Callahan.
The school, with approximately 1,700 students, is widely regarded as one of the top journalism schools in the country. It is housed in a new facility in downtown Phoenix that is equipped with 14 digital newsrooms and computer labs, two TV studios, 280 digital student work stations, the Cronkite Theater, the First Amendment Forum, and new technology. The school's students regularly finish at the top of national collegiate journalism competitions, such as the Hearst Journalism Awards program and the Society of Professional Journalists Mark of Excellence Awards. In 2009, students won the Robert F. Kennedy Journalism Award for college print reporting.
In 2008, the state-of-the-art journalism education complex in the heart of ASU's Downtown Phoenix campus was also built in his honor. The Walter Cronkite Regents Chair in Communication seats the Texas College of Communications dean.
Walter Cronkite Papers
The Walter Cronkite papers are preserved at the curatorial Dolph Briscoe Center for American History at the University of Texas at Austin. Occupying 293 linear feet (almost 90 metres) of shelf space, the papers document Cronkite's journalism career. Amongst the collected material are Cronkite's early beginnings while he still lived in Houston. They encompass his coverage of World War II as a United Press International correspondent, where he cemented his reputation by taking on hazardous overseas assignments. During this time he also covered the Nuremberg war crimes trial serving as the chief of the United Press bureau in Moscow. The main content of the papers documents Cronkite's career with CBS News between 1950 and 1981.
The Cronkite Papers assemble a variety of interviews with U.S. presidents, including Herbert Hoover, Harry Truman, and Ronald Reagan. President Lyndon Johnson requested a special interview with Cronkite while he was broadcasting live on CBS.
Between 1990 and 1993, Don Carleton, executive director for the Center for American History, assisted Cronkite as he compiled an oral history to write his autobiography, A Reporter's Life, which was published in 1996. The taped memoirs became an integral part of an eight-part television series Cronkite Remembers, which was shown on the Discovery Channel.
As a newsman, Cronkite devoted his attention to the early days of the space program, and the "space race" between the United States and the Soviet Union. The National Aeronautics and Space Administration honored Cronkite on February 28, 2006. Michael Coats, director of NASA's Lyndon B. Johnson Space Center in Houston, presented Cronkite with the Ambassador of Exploration Award. Cronkite was the first non-astronaut thus honored.
NASA presented Cronkite with a Moon rock sample from the early Apollo expeditions spanning 1969 to 1972. Cronkite passed on the Moon rock to Bill Powers, president of the University of Texas at Austin, and it became part of the collection at the Dolph Briscoe Center for American History. Carleton said at this occasion, "We are deeply honored by Walter Cronkite's decision to entrust this prestigious award to the Center for American History. The Center already serves as the proud steward of his professional and personal papers, which include his coverage of the space program for CBS News. It is especially fitting that the archive documenting Walter's distinguished career should also include one of the moon rocks that the heroic astronauts of the Apollo program brought to Earth."
Memorial at Missouri Western State University
On November 4, 2013, Missouri Western State University in St. Joseph, Missouri, dedicated the Walter Cronkite Memorial. The nearly 6,000 square-foot memorial includes images, videos and memorabilia from Cronkite's life and the many events he covered as a journalist. The memorial includes a replica of the newsroom from which Cronkite broadcast the news during the 1960s and 1970s. In 2014, the Memorial received the Missouri Division of Tourism's Spotlight Award.
Books
The Challenges of Change (1971). Washington: Public Affairs Press. .
Eye on the World (1971). New York: Cowles Book Co. .
A Reporter's Life (1996). New York: Alfred A. Knopf. .
See also
New Yorkers in journalism
Walter Cronkite School of Journalism and Mass Communication
References
Further reading
Menand, Louis, "Seeing It Now: Walter Cronkite and the legend of CBS News", The New Yorker, July 9, 2012
External links
"Walter Cronkite, 92, Dies; Trusted Voice of TV News", The New York Times (July 17, 2009)
The Walter Cronkite Papers at the University of Texas at Austin
FBI Records: The Vault - Walter Leland Cronkite at vault.fbi.gov
1916 births
2009 deaths
20th-century American journalists
American male journalists
60 Minutes correspondents
Amateur radio people
American broadcast news analysts
American game show hosts
American television news anchors
American television reporters and correspondents
CBS News people
Drug policy reform activists
Fellows of the American Academy of Arts and Sciences
Journalists from Houston
Oklahoma Sooners football announcers
Peabody Award winners
People from St. Joseph, Missouri
Presidential Medal of Freedom recipients
San Jacinto High School alumni
Space advocates
Moody College of Communication alumni
American war correspondents of the Vietnam War
American war correspondents of World War II
20th-century American Episcopalians
Recipients of Ischia International Journalism Award
Members of the American Philosophical Society
United States Coast Guard Auxiliary officers
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"Arnold L. Zenker (born 1938) is a retired media broadcaster and public appearance counselor who gained brief stardom by sitting in for Walter Cronkite on the CBS Evening News in 1967. Zenker studied at the University of Pennsylvania in Philadelphia, from which he received an undergraduate and a law degree. In 1967 at the age of 28, he was asked to sit in for anchor Walter Cronkite to deliver the nightly news. Zenker, working as a manager of news programming at CBS at the time, was chosen because a strike by the American Federation of Television and Radio Artists left the network without an immediate substitute.\n\nFor 13 days, Zenker delivered the CBS Evening News, telling viewers that he was \"sitting in for Walter Cronkite\". After the strike ended, Cronkite returned on April 11, 1967, and opened with the words, \"Good evening. This is Walter Cronkite, sitting in for Arnold Zenker. It's good to be back.\"\n\nOnce the strike ended Zenker returned to his former post. After that he went on to host a variety of television and radio shows in Boston and Baltimore and worked at one time in labor relations at ABC. Zenker founded the company Arnold Zenker Associates in Boston, which trains \"people to successfully master the public spotlight.\"\n\nReferences\n\nExternal links\n\"Portrait of the Artists\". Time. (April 7, 1967). Retrieved September 4, 2006.\n\nAmerican television journalists\nLiving people\nYear of birth uncertain\nCBS News people\nAmerican male journalists\nJournalists from New York City\n1938 births",
"The CBS Evening News is the flagship evening television news program of CBS News, the news division of the CBS television network in the United States. The CBS Evening News is a daily evening broadcast featuring news reports, feature stories and interviews by CBS News correspondents and reporters covering events around the world. The program has been broadcast since July 1, 1941, under the original title CBS Television News, eventually adopting its current title in 1963.\n\nSince July 15, 2019, the nightly broadcast has been anchored by Norah O'Donnell and has been titled CBS Evening News with Norah O’Donnell; since December 2, 2019, the newscast has emanated from CBS News’ bureau in Washington, D.C. Previous weeknight anchors have included Douglas Edwards, Walter Cronkite, Dan Rather, Connie Chung, Bob Schieffer, Katie Couric, Scott Pelley, and Jeff Glor.\n\nSaturday and Sunday broadcasts of the CBS Evening News began in February 1966. On May 2, 2016, CBS announced that the weekend edition would be rebranded, effective May 7, 2016, as the CBS Weekend News. Weekend newscasts emanate from the CBS Broadcast Center in New York City and were anchored by Reena Ninan on Saturday and Elaine Quijano on Sunday. By the summer of 2020 Ninan and Quijano were replaced by Major Garrett and Jamie Yuccas. In December 2020, it was announced that Adriana Diaz and Jericka Duncan would be the new weekend anchors.\n\nThe weeknight edition of the CBS Evening News airs live at 6:30 p.m. in the Eastern and 5:30 p.m. in the Central Time Zones and is tape delayed for the Mountain Time Zone. A \"Western Edition\", with updated segments covering breaking news stories, airs pre-recorded at 6:30 p.m. in the Pacific Time Zone and on tape delay in the Alaska and Hawaii–Aleutian Time Zones.\n\nAs of March 4, 2019, CBS Evening News remains in third place of the three major television news programs, with 6,309,000 total viewers.\n\nHistory\n\nEarly years (1941–1948)\nUpon becoming commercial station WCBW (channel 2, now WCBS-TV) on July 1, 1941, the pioneer CBS television station in New York City broadcast two daily news programs, at 2:30 p.m. and 8:00 p.m. weekdays, anchored by Richard Hubbell. Most of the newscasts featured Hubbell reading a script with only occasional cutaways to a map or still photograph. When Pearl Harbor was bombed on December 7, 1941, WCBW (which was usually off the air on Sunday to give the engineers a day off), took to the air at 8:45 p.m. with an extensive special report. The national emergency broke down the unspoken wall between CBS radio and television. WCBW executives convinced radio announcers and experts such as George Fielding Elliot and Linton Wells to come to the CBS television studios at Grand Central Station from the radio network's base at 485 Madison Avenue, to give information and commentary on the attack. The WCBW special report that night lasted less than 90 minutes, but it pushed the limits of live television in 1941 and opened up new possibilities for future broadcasts. As CBS wrote in a special report to the FCC, the unscheduled live news broadcast on December 7 \"was unquestionably the most stimulating challenge and marked the greatest advance of any single problem faced up to that time.\"\n\nAdditional newscasts were scheduled in the early days of the war, including World This Week (February–April 1942), War Backgrounds (December 1941–February 1942), and America At War (March–May 1942). In May 1942, WCBW (like almost all television stations) temporarily suspended studio operations, which resulted in the station sharply cutting back its live program schedule, and resorting exclusively to the occasional broadcast of films. This was primarily because much of the staff had either joined the military service or were redeployed to war-related technical research, and to prolong the life of the early, unstable cameras which were now impossible to repair due to the wartime lack of parts.\n\nIn May 1944, as the war began to turn in favor of the Allies, WCBW reopened the studios and the newscasts returned, briefly anchored by Ned Calmer, followed by Alan Jackson, Everett Holles, and Dwight Cooke. After the war, expanded news programs appeared on the WCBW schedule. The station's call letters were changed to WCBS-TV in 1946. Anchors included Bob McKee, Milo Boulton, Jim McMullin, Larry LeSueur, Tom O’Connor, and, beginning in 1947, Douglas Edwards.\n\nDouglas Edwards (1948–1962)\n\nOn May 3, 1948, Edwards began anchoring CBS Television News, a regular 15-minute nightly newscast on the CBS television network, including WCBS-TV. It aired every weeknight at 7:30 p.m., and was the first regularly scheduled, network television news program featuring an anchor. (WCBW/WCBS-TV newscasts prior to this time were local television broadcasts seen only in New York City.) NBC's offering at the time, NBC Television Newsreel, which premiered in February 1948, was simply film footage with voice narration.\n\nThe network also broadcast a recap of the week's news stories on a Sunday night program titled Newsweek in Review, which was later moved to Saturday and retitled The Week in Review. In 1950, the nightly newscast was renamed Douglas Edwards with the News, and in September the following year it became the first news program to be broadcast simultaneously on the East Coast and West Coast through the installation of a new coaxial cable connection. That transcontinental link prompted Edwards to start each broadcast with the updated greeting \"Good evening everyone, coast to coast.\"\n\nOn November 30, 1956, the program became the first to use the new technology of videotape to time delay the broadcast (which originated in New York City) for the western United States.\n\nWalter Cronkite (1962–1981)\n\nWalter Cronkite became anchor of the program titled Walter Cronkite with the News on April 16, 1962. On September 2, 1963, the program, retitled CBS Evening News, became the first half-hour weeknight news broadcast of network television and was moved to 6:30 p.m. Eastern time (the Huntley-Brinkley Report on NBC expanded to 30 minutes exactly one week later on September 9, 1963). As before, some affiliates (including flagship owned-and-operated station WCBS-TV in New York City) had the option of carrying a later edition, this time scheduled for 7:00 p.m. Eastern Time. NBC also allowed this practice for the Huntley-Brinkley Report, with ABC later following it for the ABC Evening News (now ABC World News Tonight). The networks ended this practice after 1971, although some affiliates – mostly in larger markets – continued to carry the national newscasts at 7:00 p.m. Eastern Time on a half-hour tape delay.\n\nThe CBS Evening News was first transmitted in color as a one-evening test broadcast on August 19, 1965, before permanently switching to the format on January 31, 1966. Cronkite's prime time special report, Who, What, When, Where, Why, broadcast on February 27, 1968, ended with his declaration that the United States could only hope for a stalemate in Vietnam. It is often credited with influencing Lyndon Johnson's decision to drop out of the race for President. \"If I've lost Walter Cronkite ... [I]'ve lost Middle America\", he stated.\n\nUnder Cronkite, the newscast began what would eventually become an 18-year period of dominating the ratings among the network evening news programs. In the process, Cronkite became \"the most trusted man in America\" according to a Gallup Poll, a status that had first been fostered in November 1963 through his coverage of the assassination of President John F. Kennedy.\n\nIn late 1972, Cronkite prodded the show's producers to feature two nights of lengthy explanation on the Watergate scandal, which had been extensively covered by The Washington Post, but had not received major national coverage. After the first half of the report, shown on a Friday, ran for 14 minutes, roughly half of the air time of the broadcast, White House officials complained to CBS founder William S. Paley. The second half of the report was aired the following Monday, but only for eight minutes.\n\nDan Rather (1981–2005)\n\n1981–1993\n\nCronkite was replaced as anchor of the program the Monday after his retirement, March 9, 1981, by 49-year-old Dan Rather, who had been with CBS News as a correspondent since the early 1960s and later became a correspondent for the network's newsmagazine 60 Minutes. Concerns about excessive liberalism in the media were frequently leveled at Rather, the CBS Evening News, CBS News, and CBS in general. Some of these concerns dated from Rather's position as White House correspondent for the network's news division during the Nixon administration. An interview in January 1988 related to the Iran–Contra affair with Vice President George H. W. Bush where the two engaged in a shouting match on live television did little to dispel those concerns. Rather unapologetically defended his behavior in statements the following day, and Bush went on to win the presidential election in November.\n\nEarlier, on September 1, 1986, amidst a brewing battle among CBS's Board of Directors for control of the company and turmoil at CBS News, Rather closed his Monday broadcast with the word \"courage,\" repeating it the following night. On September 3, Rather said the masculine noun for the Spanish word for \"courage,\" \"coraje\" (the primary translation for \"courage\" in Spanish is \"valor\"). In the face of media attention and pleas from his staff, Rather abandoned the signoff on September 8.<ref>{{cite book|title=Who Killed CBS? The Undoing of America's Number One News Network|pages=304–06|author=Peter J. Boyer|publisher=Random House|location=New York City|year=1988}}</ref>\n\nOn September 11, 1987, Rather marched off-camera in anger just before a remote broadcast when it appeared that CBS Sports' coverage of a U.S. Open tennis semifinal match between Steffi Graf and Lori McNeil was going to overrun into time allotted for his program. Rather was in Miami covering the visit to the city by Pope John Paul II. When the tennis match ended sooner than expected at 6:32 p.m. Eastern Time, Rather was nowhere to be found, and six minutes of dead air followed before he returned to the broadcast position; nearly half of the audience watched and waited. Rather attempted to explain his actions with a statement release on Sunday, but made no mention of it on his next newscast on Monday, delayed by the men's final. By 1990, the CBS Evening News had fallen to third place in the ratings, behind ABC's World News Tonight with Peter Jennings and NBC Nightly News with Tom Brokaw.\n\nOn January 22, 1991, demonstrators from the AIDS Coalition to Unleash Power (ACT UP) broke into the CBS News studio and chanted \"Fight AIDS, not Arabs\" during the show's introduction. One protester was seen on camera just as Rather began speaking. Rather immediately called for a commercial break, however, the screen went black instead for six seconds before returning to Rather. He apologized twice to viewers about the incident.\n\nConnie Chung as co-anchor (1993–1995)\nOn June 1, 1993, CBS News correspondent Connie Chung began co-anchoring the broadcast with Rather. Chung normally co-anchored in the studio with Rather, but sometimes one of them appeared on location, while the other remained in the studio. Though Rather never said so publicly, CBS News insiders said he did not approve of her appointment. Chung's last broadcast as co-anchor was on May 18, 1995.\n\n1995–2005\n\nThe newscast returned to a solo anchor format on May 19, 1995, with Dan Rather continuing in his role as anchor. At age 73, Rather retired from the Evening News on March 9, 2005, exactly 24 years after succeeding Cronkite.\n\nRather left the anchor position amidst controversy and a credibility crisis over reports broadcast during the 2004 presidential election campaign. The report was a segment featured on a September 2004 broadcast of 60 Minutes Wednesday questioning President George W. Bush's Texas Air National Guard record. Conservative activists challenged the authenticity of the documents used for the report. A number of bloggers analyzed scans of the documents, and rapidly concluded they were forgeries. Subsequently, CBS commissioned an independent inquiry into the matter and several CBS staffers were fired or asked to resign.\n\nAfter departing from the Evening News, Rather remained with CBS News as a correspondent. On June 20, 2006, CBS News President Sean McManus announced that Rather and CBS had agreed to end his 44-year career with the network.\n\nBob Schieffer (2005–2006)\n\nOn March 10, 2005, Rather was succeeded on an interim basis by Face the Nation host and CBS News correspondent Bob Schieffer. At the time Schieffer took over, it was uncertain how long he would host the broadcast, whether it would retain its current structure, or instead adopt some kind of multiple host or alternative format. Under Rather in the years leading up to his retirement, the CBS Evening News trailed its rivals at ABC and NBC by a fairly large margin. White House correspondent John Roberts, and Scott Pelley, his predecessor in that position, were often mentioned as possible successors to Rather when he retired. Jim Axelrod became White House correspondent when Roberts later left for CNN.\n\nIn the months following Rather's departure, the program came to emphasize live exchanges between Schieffer and various CBS News correspondents around the world. In contrast to traditional network news practice, these exchanges were unrehearsed as part of an effort to make the language on the broadcast sound more \"natural\". Viewership increased over this period, with the program being the only network evening news broadcast to gain viewers during 2005. In November 2005, CBS announced that CBS Evening News executive producer Jim Murphy would be replaced by Rome Hartman, who took over in January 2006.\n\nSchieffer led the CBS Evening News to become the #2 evening news broadcast, ahead of ABC's World News Tonight. The death of anchor Peter Jennings in 2005 coupled with the adoption of a dual-anchor format on World News Tonight and life-threatening injuries suffered by Bob Woodruff when an Iraqi military convoy he rode in hit a road-side bomb, leaving Elizabeth Vargas as sole anchor, in January 2006 put the ABC News division in flux. When Charles Gibson was appointed as anchor of World News Tonight, ABC regained stability and momentum to regain the #2 spot.\n\nBob Schieffer's final CBS Evening News broadcast occurred on August 31, 2006. Russ Mitchell filled in for the following two nights (September 1 and 4, 2006), after which he was succeeded by Katie Couric on September 5, 2006.\n\nKatie Couric (2006–2011)\n\nOn December 1, 2005, it was reported that Katie Couric, co-anchor of NBC's Today, was considering an offer by CBS to anchor the Evening News. Couric officially signed a contract to become anchor of the CBS Evening News on April 1, 2006, and formally announced four days later on Today that she would be leaving the show and NBC News after a 15-year run as the morning show's co-anchor. Ratings during Couric's period as anchor fluctuated, seemingly improving at times, but also posting historic lows rivaling those dating back to at least the 1991–92 season.\n\nCouric began working at CBS News in July 2006. During her first broadcast as anchor on September 5, 2006, a new graphics package and set, and a new theme composed by Academy Award-winning composer James Horner were introduced. Similar graphics and music would be introduced on other CBS News programs such as Up to the Minute, CBS Morning News and The Early Show throughout the month of October. A new opening title sequence was designed, with Walter Cronkite providing the voiceover, replacing Wendell Craig unless a temporary voice-over was needed. Following Cronkite's death months earlier, actor Morgan Freeman recorded a new voice-over for the title sequence, which debuted on January 4, 2010. The program also debuted a new feature called \"freeSpeech\" in which different Americans, ranging from well-known national figures to average people, would provide news commentary. After overwhelmingly negative reaction, the segment was discontinued.\n\nOn March 8, 2007, The New York Times reported that the program's executive producer Rome Hartman was being replaced by television news veteran Rick Kaplan. Hartman left as executive producer on March 7. Kaplan came to the Evening News after stints at MSNBC, CNN, and ABC's World News Tonight with Peter Jennings.\n\nOn April 4, 2007, Couric did a one-minute commentary about the importance of reading, in a piece substantially lifted from a Wall Street Journal column by Jeffrey Zaslow. Couric claimed that she remembered her first library card, but the words were all from Zaslow's column. It was determined that a producer had actually written the piece. What made the plagiarism especially striking was the personal flavor of the video – which was subsequently removed from the cbsnews.com website after the situation came to light that began, \"I still remember when I got my first library card, browsing through the stacks for my favorite books.\"\n\nMuch of the rest of the script was stolen from the Journal article. Zaslow said at the time that CBS had \"been very gracious and apologetic, and we at the Journal appreciate it.\" In a case of double plagiarism, the producer who wrote the piece copied from someone else for Couric, and the anchor claimed the words were hers when they were not. The producer responsible for Couric's piece, Melissa McNamara, was fired hours after the Journal contacted CBS News to complain. The network promised changes in its procedures.\n\nOn July 28, 2008, the CBS Evening News became the third network evening newscast to begin broadcasting in high definition (behind NBC Nightly News and PBS's The NewsHour with Jim Lehrer).\n\nOn August 27, 2008, Mediabistro wrote a piece about the Big Three network newscasts, praising Couric's Evening News for extensive reporting that had, in its opinion, content better than its rivals. Another critic from MarketWatch praised Couric's work and said that people should watch out for her in 2009. Washington Post writer Tom Shales praised Couric as a warmer, more benevolent presence than her two competitors, something that she brought to the program nearly 16 years of goodwill from doing \"Today\" and becoming America's sweetheart, or else very close to it, and he claimed that this goodwill remained. Shales added that viewers \"may find bad news less discomforting and sleep-depriving if Couric gives it to them\". He also added that she does not try to \"sugarcoat\" or \"prettify\" grim realities. According to Shales, the Evening News may be a more hospitable, welcoming sort of place than its competitors. He concluded by stating that \"it's naive to think that viewers choose their news anchor based solely on strict journalistic credentials, though Couric's do seem to be in order, despite her critics' claims\".\n\nThe CBS Evening News with Katie Couric won the 2008 and 2009 Edward R. Murrow Award for best newscast. In September 2008, Couric interviewed Republican vice presidential nominee Sarah Palin, earning respect from a MarketWatch critic for asking tough questions. In 2011, the program was the recipient of both an Emmy for Outstanding Continuing Coverage and the Edward R. Murrow Award for Video News Series for foreign correspondent Terry McCarthy's feature story \"Afghan Bomb Squad\".\n\nOn May 18, 2009, the newscast's graphics were overhauled, using a blue and red color scheme with web-influenced motifs and layouts. The new graphics design featured a look influenced by the graphics that CBS used during the 2008 presidential election coverage.\n\nOn April 3, 2011, the Associated Press reported that Couric would be leaving the Evening News when her contract expired in June. Couric later confirmed her departure to People magazine, citing a desire for \"a format that will allow (her) to engage in more multi-dimensional storytelling.\" On May 13, 2011, Couric announced that the following Thursday, May 19, 2011, would be her last broadcast.\nDespite originally retooling the newscasts to add more features, interviews, and human interest stories, over time it returned to the hard news format popularized by Cronkite. Harry Smith served as an interim anchor until Pelley's tenure started on June 6, 2011 (like Couric before him, Smith would also depart from CBS a month later).\n\nScott Pelley (2011–2017)\n\nIn an April 2011 article, the New York Times reported that 60 Minutes correspondent Scott Pelley was considered to be the front-runner to replace Couric as anchor of the program.\n\nOn May 3, 2011, CBS confirmed that Pelley would replace Couric as anchor for the CBS Evening News in June. The graphics were subtly updated (the Couric 2009-2011 graphics were used for the first two days of Pelley's tenure as anchor in 2011), the American flag background on the news set (which had been used since the 2008 elections, this was last used on Harry Smith interim anchor episodes until 2011) was replaced by a replica of the globe fixture during the Cronkite era, and the James Horner theme was replaced by the 1987–91 theme composed by Trivers-Myers Music that was used during the Rather era (the theme was last used on Up to the Minute on June 24, 2011, and was replaced by the Rather and Pelley theme the same year).\nIn his first nine months in the anchor chair, Pelley gained an additional 821,000 viewers. CBS News also enjoyed increases in its audience for special news events. After election night in 2012, Variety wrote, \"With Scott Pelley front and center; the Eye was up 8% from four years ago.\" The CBS Evening News had increased its audience every year from 2011 through 2015. On May 29, 2015, media website The Wrap wrote: \"These days, CBS brass may finally have a reason to smile. On Wednesday, the network announced 'Evening News with Scott Pelley' added more than 1.25 million viewers over the past four years – a whopping 21 percent jump. The show also saw audience growth for the fifth consecutive season, the first time any network evening news broadcast has done that since 1987.\"\n\nAt the end of the 2015–2016 television season, CBS News announced, \"The CBS Evening News with Scott Pelley, America's fastest growing network evening news broadcast, finished the 2015–16 television season with CBS's highest ratings in the time period in 10 years (since the 2005–06 season), according to Nielsen most current ratings. The CBS Evening News has grown its audience for six consecutive seasons, a first-time achievement for any network evening news broadcast since the advent of people meters (since at least 1987). Under Pelley, who assumed the anchor chair in June 2011, the CBS Evening News has added +1.4 million viewers and an audience increase of + 23%, which is double NBC and ABC's growth combined over the same period (since the 2010–11 season).\n\n\"Pelley has refocused the program towards hard news and away from the soft news and infotainment features of the early Katie Couric era. Story selection has focused more on foreign policy, Washington politics, and economic subjects. The program's audience viewership began to grow immediately, closing the gap between the CBS Evening News and its competitors by one million viewers within a year, although the CBS program remains in third place among the network evening newscasts. In late May 2016, a new theme tune composed by Joel Beckerman of Man Made Music was introduced. Later that same year in December, the program moved permanently into CBS Studio 57, which the newscast used during their 2016 election coverage (moving from its longtime home of studio 47) at the CBS Broadcast Center and gained a new set to go with it.\n\nOn May 30, 2017, reports surfaced confirming that Scott Pelley had been relieved of his duties at CBS Evening News. Pelley remained at CBS News as a 60 Minutes correspondent. Pelley reportedly asked staff members to clear out his office. The move was made official on May 31, 2017, and Anthony Mason was named interim anchor. On June 6, 2017, CBS Evening News announced that Pelley would anchor until June 16, 2017.\n\nJeff Glor (2017–2019)\n\nOn October 25, 2017, CBS News announced that correspondent Jeff Glor would be the new CBS Evening News anchor. On November 26, 2017, the organization announced his first official air date for December 4, 2017. Together with Glor's debut, the newscast also updated its looks and used a new logotype and updated typography, using Ridley Grotesk as its base. However, the theme music and set from the later Pelley era were retained. On May 6, 2019, it was announced that Glor would be leaving CBS Evening News. His last day of his broadcast was May 10, 2019. John Dickerson, Major Garrett, Margaret Brennan, Anthony Mason, David Begnaud, Jim Axelrod, and Maurice DuBois anchored on an interim basis until Norah O'Donnell took the anchor chair on July 15, 2019.\n\nNorah O'Donnell (2019–present)\n\nOn May 6, 2019, CBS News announced that Norah O'Donnell was named anchor and managing editor of CBS Evening News to replace Jeff Glor, effective July 15, 2019.https://cbspressexpress.com/cbs-news/releases/view?id=52610 It was also announced that the show would be moving to Washington, D.C. on December 2, 2019. This marks the first time that a major network evening news program is based outside of New York since 1977, when ABC World News Tonight used bureaus in Washington, Chicago and London for its broadcast. The set received minor facelifts, and the theme music was re-arranged.\n\nWeekend editions\nThe CBS Evening News expanded to weekend evenings in February 1966, originally anchored by Roger Mudd. The Sunday edition of the program was dropped in September 1971, when CBS began airing 60 Minutes in the 6:00 p.m. Eastern Time (5:00 p.m. Central) slot in order to help affiliates fulfill requirements imposed by the Federal Communications Commission (FCC)'s Prime Time Access Rule. The Sunday edition returned in January 1976, when the network moved 60 Minutes one hour later to 7:00 p.m. Eastern Time, where that program remains to this day (except when the NFL on CBS is scheduled to air a doubleheader; on those Sundays, 60 Minutes is scheduled for 7:30 p.m. ET).\n\nFrom 2011 to 2014, the CBS Evening News was the only remaining network evening newscast that used separate anchors for its Saturday and Sunday editions (NBC Nightly News previously used separate anchors for both weekend broadcasts until John Seigenthaler was appointed anchor of both the Saturday and Sunday editions in 1999, while ABC's World News Tonight maintained separate anchors for its weekend editions until Saturday anchor David Muir also assumed anchor duties on the program's Sunday edition in 2011). John Roberts did anchor both Saturday and Sunday editions of the CBS Evening News for several months in 1999. More recently, Russ Mitchell served as the weekend anchor for the CBS Evening News until December 2011, when he announced his resignation from CBS News to take a lead anchor position with NBC affiliate WKYC-TV in Cleveland, Ohio. The following year, Mitchell was replaced on the weekend editions by Jim Axelrod on Saturdays and Jeff Glor on Sundays.\n\nWeekend editions of the CBS Evening News were periodically abbreviated or preempted outright due to CBS Sports programming. On May 2, 2016, CBS announced that the weekend editions of the CBS Evening News, effective May 7, 2016, would be revamped as the CBS Weekend News, with the Saturday and Sunday editions anchored by Reena Ninan and Elaine Quijano, respectively (the Saturday edition airs only on the West Coast from September through mid December due to CBS' longstanding SEC football coverage). CBS News executive editor Steve Capus argued that \"given the number of sports overruns and out-and-out pre-emptions, it would be better for us as a news organization to come up with what I think is a smarter, 24-hour approach to covering the world, and making sure we've got all the bases covered.\"\n\n Impact of COVID-19 \nIn March 2020, the COVID-19 pandemic caused the temporary shutdown of the CBS Broadcast Center after a number of CBS News staffers tested positive for the virus. While the network did reopen the facility for a brief period, further positive tests along with a number of corporate directives by CBS News President Susan Zirinsky resulted in a second, indefinite shutdown of the Broadcast Center. With no live weekend sporting events for the next three months (primarily due to the cancellation of CBS's March Madness coverage as well as the temporary pause of the 2019–20 PGA Tour season) resulting in no likely sports pre-emptions, production of the CBS Weekend News was dramatically altered with CBS News staffers outsourcing certain production services to select CBS-owned stations and affiliates, who would originate the newscasts from the stations' respective studios with the station or affiliate's main anchors serving as the program's anchor for the weekend. The usage of local CBS stations and affiliates was, in part, to reduce the pressure on CBS News' Washington, D.C. bureau, where the weeknight CBS Evening News is based, as it had already taken on increased responsibilities during the pandemic.\n\nThe following CBS affiliates assisted with production of the CBS Weekend News from March 14 until May 31:\n\n March 14–15: KCBS Los Angeles (CBS O&O)\n March 21–22 & 28-29: KTVT Fort Worth-Dallas (CBS O&O)\n April 4–5: KCNC Denver (CBS O&O)\n April 11–12: KHOU Houston\n April 18–19: WGCL Atlanta\n April 25–26: WUSA Washington, D.C.\n May 2–3: KIRO Seattle\n May 9–10: WTTV Indianapolis\n May 16–17: KOIN Portland, Oregon\n May 23–24: KOVR Sacramento (CBS O&O)\n May 30–31: KMOV St. Louis\n\nFrom June 7, 2020 (a special Saturday edition of the CBS Evening News covering the weekend's George Floyd protests aired the previous day) until December 2020, with CBS Sports set to resume live coverage of the PGA Tour, CBS News resumed full production of the CBS Weekend News with either chief Washington correspondent Major Garrett or Los Angeles correspondent Jamie Yuccas presiding as anchor, as production for all CBS News programs from the CBS Broadcast Center remained temporarily suspended. On December 4, 2020, CBS News announced correspondents Adriana Diaz and Jericka Duncan would be promoted into permanent anchor positions, with Diaz leading the Saturday edition from the network's Chicago bureau at WBBM-TV and Duncan leading the Sunday edition from the CBS Broadcast Center.\n\nWestern edition\nCBS introduced a Western edition of the program in 1979, which was anchored by Terry Drinkwater with staff based in its Los Angeles bureau being placed on standby for updates to the main CBS Evening News broadcast each weeknight; this lasted until September 1985, when CBS News instituted layoffs at the Los Angeles bureau following a successful fending off of a takeover attempt of the network by Ted Turner. The program eventually resumed production of the Western edition from its New York City and now Washington studios (which may also be produced from remote locations where the program is broadcast when warranted). The host will announce, \"good evening to our viewers in the West\" and packages may be updated to reflect late breaking news.\n\nAnchors\n\nWeekdays\n Richard Hubbell (1941–1942)\n Ned Calmer (1944)\n Everett Holles (1944–1945)\n Allan Jackson (1944–1945)\n Dwight Cooke (1945–1946)\n Tom O’ Connor (1945–1946)\n Bob McKee (1946)\n Milo Boulton (1946)\n Jim McMullin (1946–1947)\nLarry LeSueur (1947)\n Douglas Edwards (1947–1962)\n Walter Cronkite (1962–1981)\n Terry Drinkwater (Western Edition co-anchor; 1979–1985)\n Dan Rather (1981–2005)\n Connie Chung (co-anchor; 1993–1995)\n Bob Schieffer (2005–2006)\n Katie Couric (2006–2011)\n Scott Pelley (2011–2017)\n Jeff Glor (2017–2019)\n Norah O'Donnell (2019–present)\n\nSaturdays\n Roger Mudd (1966–1973)\n Dan Rather (1973–1976)\n Bob Schieffer (1976–1996)\n Paula Zahn (1996–1999)\n John Roberts (1999)\n Thalia Assuras (1999–2008)\n Jeff Glor (2008; 2009–2010)\n Russ Mitchell (1999–2009; 2010–2011)\n Jim Axelrod (2012–2016)\n Reena Ninan (2016–2020)\n Major Garrett (2020)\n Jamie Yuccas (2020)\n Adriana Diaz (2020–present)\n\nSundays\n Bob Schieffer (1976)\n Morton Dean (1976–1984)\n Susan Spencer (1985–1989)\n Connie Chung (1989–1993)\n Deborah Norville (1993–1995)\n John Roberts (1995–2006)\n Russ Mitchell (2006–2011)\n Jeff Glor (2012–2016)\n Elaine Quijano (2016–2020)\n Major Garrett (2020)\n Jamie Yuccas (2020)\n Jericka Duncan (2020–present)\n\nRadio\nAn audio simulcast of the CBS Evening News airs weekdays on some CBS News Radio affiliates. Most stations (such as KNX in Los Angeles and KYW in Philadelphia) carry only the first thirteen to fifteen minutes of the broadcast, before resuming regular programming, with stations in the Pacific and Mountain Time Zones carrying it ahead of the program's broadcast on local CBS stations. WCBS in New York, WBZ in Boston, and WDCH-FM in Washington, D.C. are among the few that simulcast the full half-hour broadcast from 6:30 p.m. to 7:00 p.m. Eastern Time. In addition to an audio simulcast, the CBS Evening News is also available in a podcast format.\n\nInternational broadcasts\nIn Australia, the program is shown daily on Sky News Australia at 11:30 a.m. in New Zealand, Sky News broadcasts the program live at 1:30 a.m. local time.\n\nFrom March 17, 1987, until the early 2000s, the program is shown daily (from Tuesday to Saturday) with French subtitles on French network Canal+ at 7:00 a.m. every morning.\n\nThe program was broadcast on the American Network in Mexico, Guatemala, and El Salvador.\n\nIn Japan, the CBS Evening News was shown on BS-TBS as part of that network's morning news program.\n\nThe Evening News was broadcast live on ATV World in Hong Kong daily until January 1, 2009. Belize's Tropical Vision Limited occasionally airs the program as a substitute for its airing of the NBC Nightly News'' on Saturdays and occasionally during the week.\n\nReferences\n\nExternal links\n\nInternet Movie Database links:\n\n1948 American television series debuts\n1940s American television news shows\n1950s American television news shows\n1960s American television news shows\n1970s American television news shows\n1980s American television news shows\n1990s American television news shows\n2000s American television news shows\n2010s American television news shows\n2020s American television news shows\nBlack-and-white American television shows\nCBS News\nCBS original programming\nEnglish-language television shows\nFlagship evening news shows\nPeabody Award-winning television programs\nTelevision series by CBS Studios\nTelevision shows filmed in Illinois\nTelevision shows filmed in New York City\nTelevision shows filmed in Washington, D.C."
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"Walter Cronkite",
"Anchor of the CBS Evening News",
"When did Walter join CBS Evening news?",
"but later the CBS Evening News on September 2, 1963,"
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for how long was he the anchor of CBS evening News?
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For how long was Walter Cronkite the anchor of CBS evening News?
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Walter Cronkite
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On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news. During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored the Huntley-Brinkley Report. For much of the 1960s, the Huntley-Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley-Brinkley Report in viewership during the summer months. In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981. One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981. CANNOTANSWER
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Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.
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Walter Leland Cronkite Jr. (November 4, 1916 – July 17, 2009) was an American broadcast journalist who served as anchorman for the CBS Evening News for 19 years (1962–1981). During the 1960s and 1970s, he was often cited as "the most trusted man in America" after being so named in an opinion poll. Cronkite reported many events from 1937 to 1981, including bombings in World War II; the Nuremberg trials; combat in the Vietnam War; the Dawson's Field hijackings; Watergate; the Iran Hostage Crisis; and the assassinations of President John F. Kennedy, civil rights pioneer Martin Luther King Jr., and Beatles musician John Lennon. He was also known for his extensive coverage of the U.S. space program, from Project Mercury to the Moon landings to the Space Shuttle. He was the only non-NASA recipient of an Ambassador of Exploration award. Cronkite is known for his departing catchphrase, "And that's the way it is", followed by the date of the broadcast.
Early life and education
Cronkite was born on November 4, 1916, in Saint Joseph, Missouri, the son of Helen Lena (née Fritsche) and Dr. Walter Leland Cronkite, a dentist.
Cronkite lived in Kansas City, Missouri, until he was ten, when his family moved to Houston, Texas. He attended elementary school at Woodrow Wilson Elementary School (now Baker Montessori School), junior high school at Lanier Junior High School (now Lanier Middle School) in Houston, and high school at San Jacinto High School, where he edited the high school newspaper. He was a member of the Boy Scouts. He attended college at the University of Texas at Austin (UT), entering in the Fall term of 1933, where he worked on the Daily Texan and became a member of the Nu chapter of the Chi Phi Fraternity. He also was a member of the Houston chapter of DeMolay, a Masonic fraternal organization for boys. While attending UT, Cronkite had his first taste of performance, appearing in a play with fellow student Eli Wallach. He dropped out in 1935, not returning for the Fall term, in order to concentrate on journalism.
Career
He dropped out of college in his junior year, in the fall term of 1935, after starting a series of newspaper reporting jobs covering news and sports. He entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma. In 1936, he met his future wife, Mary Elizabeth "Betsy" Maxwell, while working as the sports announcer for KCMO (AM) in Kansas City, Missouri. His broadcast name was "Walter Wilcox". He would explain later that radio stations at the time did not want people to use their real names for fear of taking their listeners with them if they left. In Kansas City, he joined the United Press International in 1937.
With his name now established, he received a job offer from Edward R. Murrow at CBS News to join the Murrow Boys team of war correspondents, relieving Bill Downs as the head of the Moscow bureau. CBS offered Cronkite $125 ($2,235 in 2020 money) a week along with "commercial fees" amounting to $25 ($447 in 2020) for almost every time Cronkite reported on air. Up to that point, he had been making $57.50 ($1,027 in 2020) per week at UP, but he had reservations about broadcasting. He initially accepted the offer. When he informed his boss Harrison Salisbury, UP countered with a raise of $17.50 ($312 in 2020) per week; Hugh Baillie also offered him an extra $20 ($357 in 2020) per week to stay. Cronkite ultimately accepted the UP offer, a move which angered Murrow and drove a wedge between them that would last for years.
Cronkite became one of the top American reporters in World War II, covering battles in North Africa and Europe. He was on board starting in Norfolk, Virginia, through her service off the coast of North Africa as part of Operation Torch, and thence back to the US. On the return trip, Cronkite was flown off Texas in one of her Vought OS2U Kingfisher aircraft when Norfolk was within flying distance. He was granted permission to be flown the rest of the distance to Norfolk so that he could outpace a rival correspondent on to return to the US and to issue the first uncensored news reports to be published about Operation Torch. Cronkite's experiences aboard Texas launched his career as a war correspondent. Subsequently, he was one of eight journalists selected by the United States Army Air Forces to fly bombing raids over Germany in a Boeing B-17 Flying Fortress part of group called The Writing 69th, and during a mission fired a machine gun at a German fighter. He also landed in a glider with the 101st Airborne Division in Operation Market Garden and covered the Battle of the Bulge. After the war, he covered the Nuremberg trials and served as the United Press main reporter in Moscow from 1946 to 1948.
Early years at CBS
In 1950, Cronkite joined CBS News in its young and growing television division, again recruited by Murrow. Cronkite began working at WTOP-TV (now WUSA), the CBS affiliate in Washington, D.C.. He originally served as anchor of the network's 15-minute late-Sunday-evening newscast Up To the Minute, which followed What's My Line? at 11:00 pm ET from 1951 through 1962.
Although it was widely reported that the term "anchor" was coined to describe Cronkite's role at both the Democratic and Republican National Conventions, marking the first nationally televised convention coverage, other news presenters bore the title before him. Cronkite anchored the network's coverage of the 1952 presidential election as well as later conventions. In 1964 he was temporarily replaced by the team of Robert Trout and Roger Mudd; this proved to be a mistake, and Cronkite returned to the anchor chair for future political conventions.
From 1953 to 1957, Cronkite hosted the CBS program You Are There, which reenacted historical events, using the format of a news report. His famous last line for these programs was: "What sort of day was it? A day like all days, filled with those events that alter and illuminate our times ... and you were there." In 1971, the show was revived and redesigned to attract an audience of teenagers and young adults, hosted again by Cronkite on Saturday mornings. In 1957, he began hosting The Twentieth Century (eventually renamed The 20th Century), a documentary series about important historical events of the century composed almost exclusively of newsreel footage and interviews. A long-running hit, the show was again renamed as The 21st Century in 1967 with Cronkite hosting speculative reporting on the future for another three years. Cronkite also hosted It's News to Me, a game show based on news events.
During the presidential elections of 1952 and 1956 Cronkite hosted the CBS news-discussion series Pick the Winner.
Another of his network assignments was The Morning Show, CBS' short-lived challenge to NBC's Today in 1954. His on-air duties included interviewing guests and chatting with a lion puppet named Charlemane about the news. He considered this discourse with a puppet as "one of the highlights" of the show. He added, "A puppet can render opinions on people and things that a human commentator would not feel free to utter. I was and I am proud of it." Cronkite also angered the R. J. Reynolds Tobacco Company, the show's sponsor, by grammatically correcting its advertising slogan. Instead of saying "Winston tastes good like a cigarette should" verbatim, he substituted "as" for "like."
He was the lead broadcaster of the network's coverage of the 1960 Winter Olympics, the first-ever time such an event was televised in the United States. He replaced Jim McKay, who had suffered a mental breakdown.
Anchor of the CBS Evening News
On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.
During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored The Huntley–Brinkley Report. For much of the 1960s, The Huntley–Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley–Brinkley Report in viewership during the summer months.
In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 Moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981.
One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981.
Historic moments
Kennedy's assassination
Cronkite is vividly remembered for breaking the news of the assassination of John F. Kennedy on Friday, November 22, 1963. Cronkite had been standing at the United Press International wire machine in the CBS newsroom as the bulletin of the President's shooting broke and he clamored to get on the air to break the news as he wanted CBS to be the first network to do so.
There was a problem facing the crew in the newsroom, however. There was no television camera in the studio at the time as the technical crew was working on it. Eventually, the camera was retrieved and brought back to the newsroom. Because of the magnitude of the story and the continuous flow of information coming from various sources, time was of the essence but the camera would take at least twenty minutes to become operational under normal circumstances. The decision was made to dispatch Cronkite to the CBS Radio Network booth to report the events and play the audio over the television airwaves while the crew worked on the camera to see if they could get it set up quicker.
Meanwhile, CBS was ten minutes into its live broadcast of the soap opera As the World Turns (ATWT), which had begun at the very minute of the shooting. A "CBS News Bulletin" bumper slide abruptly broke into the broadcast at 1:40 pm EST. Over the slide, Cronkite began reading what would be the first of three audio-only bulletins that were filed in the next twenty minutes:
While Cronkite was reading this bulletin, a second one arrived, mentioning the severity of Kennedy's wounds:
Just before the bulletin cut out, a CBS News staffer was heard saying "Connally too," apparently having just heard the news that Texas Governor John Connally had also been shot while riding in the presidential limousine with his wife Nellie and Mr. and Mrs. Kennedy.
CBS then rejoined the telecast of ATWT during a commercial break, which was followed by show announcer Dan McCullough's usual fee plug for the first half of the program and the network's 1:45 pm station identification break. Just before the second half of ATWT was to begin, the network broke in with the bumper slide a second time. In this bulletin Cronkite reported in greater detail about the assassination attempt on the President, while also breaking the news of Governor Connally's shooting.
Cronkite then recapped the events as they had happened: that the President and Governor Connally had been shot and were in the emergency room at Parkland Hospital, and no one knew their condition as yet. CBS then decided to return to ATWT, which was now midway through its second segment.
The cast had continued to perform live while Cronkite's bulletins broke into the broadcast, unaware of the unfolding events in Dallas. ATWT then took another scheduled commercial break. The segment before the break would be the last anyone would see of any network's programming until Tuesday, November 26. During the commercial, the bumper slide interrupted the proceedings again and Cronkite updated the viewers on the situation in Dallas. This bulletin went into more detail than the other two, revealing that Kennedy had been shot in the head, Connally in the chest. Cronkite remained on the air for the next ten minutes, continuing to read bulletins as they were handed to him, and recapping the events as they were known. He also related a report given to reporters by Texas Congressman Albert Thomas that the President and Governor were still alive, the first indication of their condition. At 2:00 pm EST, with the top of the hour station break looming, Cronkite told the audience that there would be a brief pause so that all of CBS' affiliates, including those in the Mountain and Pacific time zones which were not on the same schedule, could join the network. He then left the radio booth and went to the anchor desk in the newsroom.
Within twenty seconds of the announcement, every CBS affiliate except Dallas' KRLD (which was providing local coverage) was airing the network's feed. The camera was finally operational by this time and enabled the audience to see Cronkite, who was clad in shirt and tie but without his suit coat, given the urgent nature of the story. Cronkite reminded the audience, again, of the attempt made on the life of the President and tossed to KRLD news director Eddie Barker at the Dallas Trade Mart, where Kennedy was supposed to be making a speech before he was shot. Barker relayed information that Kennedy's condition was extremely critical. Then, after a prayer for Kennedy, Barker quoted an unofficial report that the President was dead but stressed it was not confirmed.
After several minutes, the coverage came back to the CBS newsroom where Cronkite reported that the President had been given blood transfusions and two priests had been called into the room. He also played an audio report from KRLD that someone had been arrested in the assassination attempt at the Texas School Book Depository. Back in Dallas Barker announced another report of the death of the President, mentioning that it came from a reliable source. Before the network left KRLD's feed for good, Barker first announced, then retracted, a confirmation of Kennedy's death.
CBS cut back to Cronkite reporting that one of the priests had administered last rites to the president. In the next few minutes, several more bulletins reporting that Kennedy had died were given to Cronkite, including one from CBS's own correspondent Dan Rather that had been reported as confirmation of Kennedy's demise by CBS Radio. As these bulletins came into the newsroom, it was becoming clearer that Kennedy had in fact lost his life. Cronkite, however, stressed that these bulletins were simply reports and not any official confirmation of the President's condition; some of his colleagues recounted in 2013 that his early career as a wire service reporter taught him to wait for official word before reporting a story. Still, as more word came in, Cronkite seemed to be resigned to the fact that it was only a matter of time before the assassination was confirmed. He appeared to concede this when, several minutes after he received the Rather report, he received word that the two priests who gave the last rites to Kennedy told reporters on the scene that he was dead. Cronkite said that report "seems to be as close to official as we can get", but would not declare it as such. Nor did he do so with a report from Washington, DC that came moments later, which said that government sources were now reporting the President was dead (this information was passed on to ABC as well, which took it as official confirmation and reported it as such; NBC did not report this information at all and chose instead to rely on reports from Charles Murphy and Robert MacNeil to confirm their suspicions).
At 2:38 pm EST, while filling in time with some observations about the security presence in Dallas, which had been increased due to violent acts against United Nations Ambassador Adlai Stevenson in the city earlier that year, Cronkite was handed a new bulletin. After looking it over for a moment, he took off his glasses, and made the official announcement:
After making that announcement, Cronkite paused briefly, put his glasses back on, and swallowed hard to maintain his composure. With noticeable emotion in his voice he intoned the next sentence of the news report:
With emotion still in his voice and eyes watering, Cronkite once again recapped the events after collecting himself, incorporating some wire photos of the visit and explaining the significance of the pictures now that Kennedy was dead. He reminded the viewers that Vice President Johnson was now the President and was to be sworn in, that Governor Connally's condition was still unknown, and that there was no report of whether the assassin had been captured. He then handed the anchor position to Charles Collingwood, who had just entered the newsroom, took his suit coat, and left the room for a while.
At about 3:30 pm EST, Cronkite came back into the newsroom to relay some new information. The two major pieces of information involved the Oath of Office being administered to now-President Johnson, which officially made him the thirty-sixth President, and that Dallas police had arrested a man named Lee Harvey Oswald whom they suspected had fired the fatal shots. After that, Cronkite left again to begin preparing for that night's CBS Evening News, which he returned to anchor as normal. For the next four days, along with his colleagues, Cronkite continued to report segments of uninterrupted coverage of the assassination, including the announcement of Oswald's death in the hands of Jack Ruby on Sunday. The next day, on the day of the funeral, Cronkite concluded CBS Evening News with the following assessment about the events of the last four dark days:
Referring to his coverage of Kennedy's assassination, in a 2006 TV interview with Nick Clooney, Cronkite recalled,
In a 2003 CBS special commemorating the 40th anniversary of the assassination, Cronkite recalled his reaction upon having the death confirmed to him, he said,
According to historian Douglas Brinkley, Cronkite provided a sense of perspective throughout the unfolding sequence of disturbing events.
Vietnam War
In mid-February 1968, on the urging of his executive producer Ernest Leiser, Cronkite and Leiser journeyed to Vietnam to cover the aftermath of the Tet Offensive. They were invited to dine with General Creighton Abrams, the commander of all forces in Vietnam, whom Cronkite knew from World War II. According to Leiser, Abrams told Cronkite, "we cannot win this Goddamned war, and we ought to find a dignified way out."
Upon return, Cronkite and Leiser wrote separate editorial reports based on that trip. Cronkite, an excellent writer, preferred Leiser's text over his own. On February 27, 1968, Cronkite closed "Report from Vietnam: Who, What, When, Where, Why?" with that editorial report:
Following Cronkite's editorial report, President Lyndon B. Johnson is claimed by some to have said, "If I've lost Cronkite, I've lost Middle America." However, this account of Johnson has been questioned by other observers in books on journalistic accuracy. At the time the editorial aired, Johnson was in Austin, Texas, attending Texas Governor John Connally's birthday gala and was giving a speech in his honor.
In his book This Just In: What I Couldn't Tell You on TV, CBS News correspondent Bob Schieffer, who was serving as a reporter for the Fort Worth Star-Telegram when Cronkite's editorial aired, acknowledged that Johnson did not see the original broadcast but also defended the allegation that Johnson had made the remark. According to Schieffer, Johnson's aide George Christian "told me that the President apparently saw some clips of it the next day" and that "That's when he made the remark about Cronkite. But he knew then that it would take more than Americans were willing to give it." When asked about the remark during a 1979 interview, Christian claimed he had no recollection about what the President had said. In his 1996 memoir A Reporter's Life, Cronkite claimed he was at first unsure about how much of an impact his editorial report had on Johnson's decision to drop his bid for re-election, and what eventually convinced him the President had made the statement was a recount from Bill Moyers, a journalist and former aide to Johnson.
Several weeks later, Johnson, who sought to preserve his legacy and was now convinced his declining health could not withstand growing public criticism, announced he would not seek reelection.
During the 1968 Democratic National Convention in Chicago, Cronkite was anchoring the CBS network coverage as violence and protests occurred outside the convention, as well as scuffles inside the convention hall. When Dan Rather was punched to the floor (on camera) by security personnel, Cronkite commented, "I think we've got a bunch of thugs here, Dan."
Other historic events
The first publicly transmitted live trans-Atlantic program was broadcast via the Telstar satellite on July 23, 1962, at 3:00 pm EDT, and Cronkite was one of the main presenters in this multinational broadcast. The broadcast was made possible in Europe by Eurovision and in North America by NBC, CBS, ABC, and the CBC. The first public broadcast featured CBS's Cronkite and NBC's Chet Huntley in New York, and the BBC's Richard Dimbleby in Brussels. Cronkite was in the New York studio at Rockefeller Plaza as the first pictures to be transmitted and received were the Statue of Liberty in New York and the Eiffel Tower in Paris. The first segment included a televised major league baseball game between the Philadelphia Phillies and the Chicago Cubs at Wrigley Field. From there, the video switched first to Washington, D.C.; then to Cape Canaveral, Florida; then to Quebec City, Quebec, and finally to Stratford, Ontario. The Washington segment included a press conference with President Kennedy, talking about the price of the American dollar, which was causing concern in Europe. This broadcast inaugurated live intercontinental news coverage, which was perfected later in the sixties with Early Bird and other Intelsat satellites.
General of the Army Dwight D. Eisenhower returned to his former Supreme Headquarters Allied Expeditionary Force (SHAEF) headquarters for an interview by Cronkite on the CBS News Special Report D-Day + 20, telecast on June 6, 1964.
Cronkite is also remembered for his coverage of the United States space program, and at times was visibly enthusiastic, rubbing his hands together on camera with a smile and uttering, "Whew...boy" on July 20, 1969, when the Apollo 11 lunar landing mission put the first men on the Moon.
Cronkite participated in Richard Nixon's 1972 visit to China. Because Cronkite was colorblind, he had to ask others what color of coat First Lady Pat Nixon was wearing when they disembarked in Peking (Beijing).
According to the 2006 PBS documentary on Cronkite, there was "nothing new" in his reports on the Watergate affair; however, Cronkite brought together a wide range of reporting, and his credibility and status is credited by many with pushing the Watergate story to the forefront with the American public, ultimately resulting in the resignation of President Richard M. Nixon on August 9, 1974. Cronkite had anchored the CBS coverage of Nixon's address, announcing his impending resignation, the night before.
The January 22, 1973, broadcast of the CBS Evening News saw Cronkite break the news of the death of another notable American political figure: former president Lyndon B. Johnson. At approximately 6:38 pm Eastern Time, while a pre-recorded report that the Vietnam peace talks in Paris had been successful was being played for the audience, Cronkite received a telephone call in the studio while off camera. The call was from Tom Johnson, the former press secretary for President Johnson who was at the time serving the former chief executive as station manager at KTBC-TV in Austin, Texas, which was affiliated with CBS at the time and was owned by the Johnson family. During the conversation the production staff cut away from the report back to the live camera in studio as Cronkite was still on the phone. After he was made aware that he was back on camera, Cronkite held up a finger to let everyone watching know he required a moment to let Johnson finish talking. Once Cronkite got what he needed, he thanked Johnson and asked him to stay on the line. He then turned to the camera and began to relay what Johnson had said to him.
During the final ten minutes of that broadcast, Cronkite reported on the death, giving a retrospective on the life of the nation's 36th president, and announced that CBS would air a special on Johnson later that evening. This story was re-told on a 2007 CBS-TV special honoring Cronkite's 90th birthday.
NBC-TV's Garrick Utley, anchoring NBC Nightly News that evening, also interrupted his newscast in order to break the story, doing so about three minutes after Cronkite on CBS. The news was not reported on that night's ABC Evening News, which was anchored by Howard K. Smith and Harry Reasoner, because ABC at the time fed their newscast live at 6:00 pm Eastern instead of 6:30 to get a head start on CBS and NBC for those stations that aired ABC Evening News live (although not every affiliate did).
On November 22, 1963, Cronkite introduced The Beatles to the United States by airing a four-minute story about the band on CBS Morning News. The story was scheduled to be shown again on the CBS Evening News that same day, but the assassination of John F. Kennedy prevented the broadcast of the regular evening news. The Beatles story was aired on the evening news program on December 10.
Retirement
On February 14, 1980, Cronkite announced that he intended to retire from the CBS Evening News; at the time, CBS had a policy of mandatory retirement by age 65. Although sometimes compared to a father figure or an uncle figure, in an interview about his retirement he described himself as being more like a "comfortable old shoe" to his audience. His last day in the anchor chair at the CBS Evening News was on March 6, 1981; he was succeeded the following Monday by Dan Rather.
Cronkite's farewell statement:
On the eve of Cronkite's retirement, he appeared on The Tonight Show hosted by Johnny Carson. The following night, Carson did a comic spoof of his on-air farewell address.
Other activities
Post-CBS Evening News
As he had promised on his last show as anchor in 1981, Cronkite continued to broadcast occasionally as a special correspondent for CBS, CNN, and NPR into the 21st century; one such occasion was Cronkite anchoring the second space flight by John Glenn in 1998 as he had Glenn's first in 1962. Cronkite hosted Universe until its cancellation in 1982. In 1983, he reported on the British general election for the ITV current affairs series World In Action, interviewing, among many others, the victorious Prime Minister, Margaret Thatcher. Cronkite hosted the annual Vienna New Year's Concert on PBS from 1985 to 2008, succeeded by Julie Andrews in 2009. For many years, until 2002, he was also the host of the annual Kennedy Center Honors.
In 1998, Cronkite hosted the 90-minute documentary, Silicon Valley: A 100 Year Renaissance, produced by the Santa Clara Valley Historical Association. The film documented Silicon Valley's rise from the origin of Stanford University to the current high-technology powerhouse. The documentary was broadcast on PBS throughout the United States and in 26 countries. Prior to 2004, he could also be seen in the opening movie "Back to Neverland" shown in the Walt Disney World attraction The Magic of Disney Animation, interviewing Robin Williams as if he is still on the CBS News channel, ending his on-camera time with Cronkite's famous catchphrase. In the feature, Cronkite describes the steps taken in the creation of an animated film, while Williams becomes an animated character (and even becomes Cronkite, impersonating his voice). He also was shown inviting Disney guests and tourists to the Disney Classics Theater.
On May 21, 1999, Cronkite participated in a panel discussion on "Integrity in the Media" with Ben Bradlee and Mike McCurry at the Connecticut Forum in Hartford, Connecticut. Cronkite provided an anecdote about taking a picture from a house in Houston, Texas, where a newsworthy event occurred and being praised for getting a unique photograph, only to find out later that the city desk had provided him with the wrong address.
Voice-overs
Cronkite narrated the IMAX film about the Space Shuttle, The Dream is Alive, released in 1985. From May 26, 1986, to August 15, 1994, he was the narrator's voice in the EPCOT Center attraction Spaceship Earth, at Walt Disney World in Orlando, Florida. He provided the pivotal voice of Captain Neweyes in the 1993 animated film We're Back: A Dinosaur's Story, delivering his trademark line at the end. In 1995, he made an appearance on Broadway, providing the voice of the titular book in the 1995 revival of How to Succeed in Business Without Really Trying.
Cronkite was a finalist for NASA's Journalist in Space program, which mirrored the Teacher in Space Project, an opportunity that was suspended after the Challenger disaster in 1986. He recorded voice-overs for the 1995 film Apollo 13, modifying the script he was given to make it more "Cronkitian." In 2002, Cronkite was the voice of Benjamin Franklin in the educational television cartoon Liberty's Kids, which included a news segment ending with the same phrase he did back on the CBS Evening News. This role earned him Daytime Emmy nominations for Outstanding Performer in a Children's Series, in 2003 and 2004, but he did not win. His distinctive voice provided the narration for the television ads of the University of Texas, Austin, his alma mater, with its 'We're Texas' ad campaign.
He held amateur radio operator license KB2GSD and narrated a 2003 American Radio Relay League documentary explaining amateur radio's role in disaster relief. The video tells Amateur Radio's public service story to non-hams, focusing on ham radio's part in helping various agencies respond to wildfires in the Western US during 2002, ham radio in space and the role Amateur Radio plays in emergency communications. "Dozens of radio amateurs helped the police and fire departments and other emergency services maintain communications in New York, Pennsylvania and Washington, DC," narrator Cronkite intoned in reference to ham radio's response to the terrorist attacks on September 11, 2001. Unusually, Cronkite was a Novice-class licensee—the entry level license—for his entire, and long, tenure in the hobby.
On February 15, 2005, he went into the studio at CBS to record narration for WCC Chatham Radio, a documentary about Guglielmo Marconi and his Chatham station, which became the busiest ship-to-shore wireless station in North America from 1914 to 1994. The documentary was directed by Christopher Seufert of Mooncusser Films and premiered at the Chatham Marconi Maritime Center in April 2005. In 2006, Cronkite hosted the World War One Living History Project, a program honoring America's final handful of veterans from the First World War. The program was created by Treehouse Productions and aired on NPR on November 11, 2006. In May 2009, Legacy of War, produced by PBS, was released. Cronkite chronicles, over archive footage, the events following World War II that resulted in America's rise as the dominant world power.
Prior to his death, "Uncle Walter" hosted a number of TV specials and was featured in interviews about the times and events that occurred during his career as America's "most trusted" man. In July 2006, the 90-minute documentary Walter Cronkite: Witness to History aired on PBS. The special was narrated by Katie Couric, who assumed the CBS Evening News anchor chair in September 2006. Cronkite provided the voiceover introduction to Couric's CBS Evening News, which began on September 5, 2006. Cronkite's voiceover was notably not used on introducing the broadcast reporting his funeral – no voiceover was used on this occasion.
TV and movie appearances
Cronkite made a cameo appearance on a 1974 episode of The Mary Tyler Moore Show, in which he met with Lou Grant in his office. Ted Baxter, who at first tried to convince Cronkite that he (Baxter) was as good a newsman as Eric Sevareid, pleaded with Cronkite to hire him for the network news, at least to give sport scores, and gave an example: "The North Stars 3, the Kings Oh!" Cronkite turned to Grant and said, "I'm gonna get you for this!" Cronkite later said that he was disappointed that his scene was filmed in one take, since he had hoped to sit down and chat with the cast.
In the late 1980s and again in the 1990s, Cronkite appeared on the news-oriented situation comedy Murphy Brown as himself. Both episodes were written by the Emmy Award-winning team of Tom Seeley and Norm Gunzenhauser. He also continued hosting a variety of series. In the early 1980s, he was host of the documentary series World War II with Walter Cronkite. In 1991, he hosted the TV documentary Dinosaur! on A&E (not related to the documentary of the same title hosted by Christopher Reeve on CBS six years earlier), and a 1994 follow-up series, Ape Man: The Story of Human Evolution. In 1995, he narrated the World Liberty Concert held in the Netherlands.
Cronkite routinely hosted the Kennedy Center Honors from 1981 to 2002.
Cronkite appeared briefly in the 2005 dramatic documentary The American Ruling Class written by Lewis Lapham; the 2000 film Thirteen Days reporting on the Cuban Missile Crisis; and provided the opening synopsis of the American Space Program leading to the events in Apollo 13 for the 1995 Ron Howard film of the same name.
Political activism
Cronkite wrote a syndicated opinion column for King Features Syndicate. In 2005 and 2006, he contributed to The Huffington Post. Cronkite was the honorary chairman of The Interfaith Alliance. In 2006, he presented the Walter Cronkite Faith and Freedom Award to actor and activist George Clooney on behalf of his organization at its annual dinner in New York.
Cronkite was a vocal advocate for free airtime for political candidates. He worked with the Alliance for Better Campaigns and Common Cause, for instance, on an unsuccessful lobbying effort to have an amendment added to the McCain-Feingold-Shays-Meehan Campaign Finance Reform Act of 2001 that would have required TV broadcast companies to provide free airtime to candidates. Cronkite criticized the present system of campaign finance which allows elections to "be purchased" by special interests, and he noted that all the European democracies "provide their candidates with extensive free airtime." "In fact," Cronkite pointed out, "of all the major nations worldwide that profess to have democracies, only seven – just seven – do not offer free airtime" This put the United States on a list with Ecuador, Honduras, Malaysia, Taiwan, Tanzania, and Trinidad and Tobago. Cronkite concluded that "The failure to give free airtime for our political campaigns endangers our democracy." During the elections held in 2000, the amount spent by candidates in the major TV markets approached $1 billion. "What our campaign asks is that the television industry yield just a tiny percentage of that windfall, less than 1 percent, to fund free airtime."
He was a member of the Constitution Project's bipartisan Liberty and Security Committee. He also supported the nonprofit world hunger organization Heifer International.
In 1998, he supported President Bill Clinton during Clinton's impeachment trial. He was also a proponent of limited world government on the American federalist model, writing fundraising letters for the World Federalist Association (now Citizens for Global Solutions). In accepting the 1999 Norman Cousins Global Governance Award at the ceremony at the United Nations, Cronkite said:
It seems to many of us that if we are to avoid the eventual catastrophic world conflict we must strengthen the United Nations as a first step toward a world government patterned after our own government with a legislature, executive and judiciary, and police to enforce its international laws and keep the peace. To do that, of course, we Americans will have to yield up some of our sovereignty. That would be a bitter pill. It would take a lot of courage, a lot of faith in the new order. But the American colonies did it once and brought forth one of the most nearly perfect unions the world has ever seen.
Cronkite contrasted his support for accountable global government with the opposition to it by politically active Christian fundamentalists in the United States:
Even as with the American rejection of the League of Nations, our failure to live up to our obligations to the United Nations is led by a handful of willful senators who choose to pursue their narrow, selfish political objectives at the cost of our nation's conscience. They pander to and are supported by the Christian Coalition and the rest of the religious right wing. Their leader, Pat Robertson, has written that we should have a world government but only when the messiah arrives. Any attempt to achieve world order before that time must be the work of the Devil! Well join me... I'm glad to sit here at the right hand of Satan.
In 2003, Cronkite, who owned property on Martha's Vineyard, became involved in a long-running debate over his opposition to the construction of a wind farm in that area. In his column, he repeatedly condemned President George W. Bush and the 2003 invasion of Iraq. Cronkite appeared in the 2004 Robert Greenwald film Outfoxed, where he offered commentary on what he said were unethical and overtly political practices at the Fox News Channel. Cronkite remarked that when Fox News was founded by Rupert Murdoch, "it was intended to be a conservative organization – beyond that; a far-right-wing organization". In January 2006, during a press conference to promote the PBS documentary about his career, Cronkite said that he felt the same way about America's presence in Iraq as he had about their presence in Vietnam in 1968 and that he felt America should recall its troops.
Cronkite spoke out against the War on Drugs in support of the Drug Policy Alliance, writing a fundraising letter and appearing in advertisements on behalf of the DPA. In the letter, Cronkite wrote: "Today, our nation is fighting two wars: one abroad and one at home. While the war in Iraq is in the headlines, the other war is still being fought on our own streets. Its casualties are the wasted lives of our own citizens. I am speaking of the war on drugs. And I cannot help but wonder how many more lives, and how much more money, will be wasted before another Robert McNamara admits what is plain for all to see: the war on drugs is a failure."
Personal life
Cronkite was married for nearly 65 years to Mary Elizabeth 'Betsy' Maxwell Cronkite, from March 30, 1940, until her death from cancer on March 15, 2005. They had three children: Nancy Cronkite, Mary Kathleen (Kathy) Cronkite, and Walter Leland (Chip) Cronkite III (who is married to actress Deborah Rush). Cronkite dated singer Joanna Simon from 2005 to 2009.
A grandson, Walter Cronkite IV, now works at CBS. Cronkite's cousin is former Mayor of Kansas City and 2008 Democratic nominee for Missouri's 6th congressional district Kay Barnes.
Cronkite was an accomplished sailor and enjoyed sailing coastal waters of the United States in his custom-built 48-foot Sunward "Wyntje". Cronkite was a member of the United States Coast Guard Auxiliary, with the honorary rank of commodore. Throughout the 1950s, he was an aspiring sports car racer, even racing in the 1959 12 Hours of Sebring.
Cronkite was reported to be a fan of the game Diplomacy, which was rumored to be Henry Kissinger's favorite game.
Death
In June 2009, Cronkite was reported to be terminally ill. He died on July 17, 2009, at his home in New York City aged 92. He is believed to have died from cerebrovascular disease.
Cronkite's funeral took place on July 23, 2009, at St. Bartholomew's Church in midtown Manhattan, New York City. Among many journalists who attended were Tom Brokaw, Connie Chung, Katie Couric, Charles Gibson, Matt Lauer, Dan Rather, Andy Rooney, Morley Safer, Diane Sawyer, Bob Schieffer, Meredith Vieira, Barbara Walters, and Brian Williams. At his funeral, his friends noted his love of music, including, recently, drumming. He was cremated and his remains buried next to his wife, Betsy, in the family plot in Kansas City.
Legacy
Public credibility and trustworthiness
For many years, until a decade after he left his post as anchor, Cronkite was considered one of the most trusted figures in the United States. For most of his 19 years as anchor, he was the "predominant news voice in America." Affectionately known as "Uncle Walter," he covered many of the important news events of the era so effectively that his image and voice are closely associated with the Cuban Missile Crisis, the assassination of President John F. Kennedy, the Vietnam War, the Apollo 11 Moon landing, and the Watergate scandal. USA Today wrote that "few TV figures have ever had as much power as Cronkite did at his height." Enjoying the cult of personality surrounding Cronkite in those years, CBS allowed some good-natured fun-poking at its star anchorman in some episodes of the network's popular situation comedy All in the Family, during which the lead character Archie Bunker would sometimes complain about the newsman, calling him "Pinko Cronkite."
Cronkite trained himself to speak at a rate of 124 words per minute in his newscasts, so that viewers could clearly understand him. In contrast, Americans average about 165 words per minute, and fast, difficult-to-understand talkers speak close to 200 words per minute.
Awards and honors
In 1968, the faculty of the E. W. Scripps School of Journalism at Ohio University voted to award Cronkite the Carr Van Anda Award "for enduring contributions to journalism." In 1970, Cronkite received a "Freedom of the Press" George Polk Award and the Paul White Award from the Radio Television Digital News Association.
In 1972, in recognition of his career, Princeton University's American Whig-Cliosophic Society awarded Cronkite the James Madison Award for Distinguished Public Service.
In 1981, the year he retired, former president Jimmy Carter awarded Cronkite the Presidential Medal of Freedom. In that year, he also received the S. Roger Horchow Award for Greatest Public Service by a Private Citizen, an award given out annually by Jefferson Awards, and the Paul White Award for lifetime achievement from the Radio Television Digital News Association. In 1985, Cronkite was honored with the induction into the Academy of Television Arts and Sciences Hall of Fame. In 1989 he received the Four Freedoms Award for the Freedom of Speech. He was elected to the American Philosophical Society in 1994. In 1995, he received the Ischia International Journalism Award. In 1999, Cronkite received the Rotary National Award for Space Achievement's Corona Award in recognition of a lifetime of achievement in space exploration. He was elected a Fellow of the American Academy of Arts and Sciences in 2003. On March 1, 2006, Cronkite became the first non-astronaut to receive NASA's Ambassador of Exploration Award. Among Cronkite's numerous awards were four Peabody awards for excellence in broadcasting.
In 2003, Cronkite was honored by the Vienna Philharmonic with the Franz Schalk Gold Medal, in view of his contributions to the New Year's Concert and the cultural image of Austria.
Minor planet 6318 Cronkite, discovered in 1990 by Eleanor Helin is named in his honor.
Cronkite School at Arizona State University
A few years after Cronkite retired, Tom Chauncey, a former owner of KOOL-TV, the then-CBS affiliate in Phoenix, contacted Cronkite, an old friend, and asked him if he would be willing to have the journalism school at Arizona State University named after him. Cronkite immediately agreed. The ASU program acquired status and respect from its namesake.
Cronkite was not just a namesake, but he also took the time to interact with the students and staff of the Walter Cronkite School of Journalism and Mass Communication. Cronkite made the trip to Arizona annually to present the Walter Cronkite Award for Excellence in Journalism to a leader in the field of media.
"The values that Mr. Cronkite embodies – excellence, integrity, accuracy, fairness, objectivity – we try to instill in our students each and every day. There is no better role model for our faculty or our students," said Dean Christopher Callahan.
The school, with approximately 1,700 students, is widely regarded as one of the top journalism schools in the country. It is housed in a new facility in downtown Phoenix that is equipped with 14 digital newsrooms and computer labs, two TV studios, 280 digital student work stations, the Cronkite Theater, the First Amendment Forum, and new technology. The school's students regularly finish at the top of national collegiate journalism competitions, such as the Hearst Journalism Awards program and the Society of Professional Journalists Mark of Excellence Awards. In 2009, students won the Robert F. Kennedy Journalism Award for college print reporting.
In 2008, the state-of-the-art journalism education complex in the heart of ASU's Downtown Phoenix campus was also built in his honor. The Walter Cronkite Regents Chair in Communication seats the Texas College of Communications dean.
Walter Cronkite Papers
The Walter Cronkite papers are preserved at the curatorial Dolph Briscoe Center for American History at the University of Texas at Austin. Occupying 293 linear feet (almost 90 metres) of shelf space, the papers document Cronkite's journalism career. Amongst the collected material are Cronkite's early beginnings while he still lived in Houston. They encompass his coverage of World War II as a United Press International correspondent, where he cemented his reputation by taking on hazardous overseas assignments. During this time he also covered the Nuremberg war crimes trial serving as the chief of the United Press bureau in Moscow. The main content of the papers documents Cronkite's career with CBS News between 1950 and 1981.
The Cronkite Papers assemble a variety of interviews with U.S. presidents, including Herbert Hoover, Harry Truman, and Ronald Reagan. President Lyndon Johnson requested a special interview with Cronkite while he was broadcasting live on CBS.
Between 1990 and 1993, Don Carleton, executive director for the Center for American History, assisted Cronkite as he compiled an oral history to write his autobiography, A Reporter's Life, which was published in 1996. The taped memoirs became an integral part of an eight-part television series Cronkite Remembers, which was shown on the Discovery Channel.
As a newsman, Cronkite devoted his attention to the early days of the space program, and the "space race" between the United States and the Soviet Union. The National Aeronautics and Space Administration honored Cronkite on February 28, 2006. Michael Coats, director of NASA's Lyndon B. Johnson Space Center in Houston, presented Cronkite with the Ambassador of Exploration Award. Cronkite was the first non-astronaut thus honored.
NASA presented Cronkite with a Moon rock sample from the early Apollo expeditions spanning 1969 to 1972. Cronkite passed on the Moon rock to Bill Powers, president of the University of Texas at Austin, and it became part of the collection at the Dolph Briscoe Center for American History. Carleton said at this occasion, "We are deeply honored by Walter Cronkite's decision to entrust this prestigious award to the Center for American History. The Center already serves as the proud steward of his professional and personal papers, which include his coverage of the space program for CBS News. It is especially fitting that the archive documenting Walter's distinguished career should also include one of the moon rocks that the heroic astronauts of the Apollo program brought to Earth."
Memorial at Missouri Western State University
On November 4, 2013, Missouri Western State University in St. Joseph, Missouri, dedicated the Walter Cronkite Memorial. The nearly 6,000 square-foot memorial includes images, videos and memorabilia from Cronkite's life and the many events he covered as a journalist. The memorial includes a replica of the newsroom from which Cronkite broadcast the news during the 1960s and 1970s. In 2014, the Memorial received the Missouri Division of Tourism's Spotlight Award.
Books
The Challenges of Change (1971). Washington: Public Affairs Press. .
Eye on the World (1971). New York: Cowles Book Co. .
A Reporter's Life (1996). New York: Alfred A. Knopf. .
See also
New Yorkers in journalism
Walter Cronkite School of Journalism and Mass Communication
References
Further reading
Menand, Louis, "Seeing It Now: Walter Cronkite and the legend of CBS News", The New Yorker, July 9, 2012
External links
"Walter Cronkite, 92, Dies; Trusted Voice of TV News", The New York Times (July 17, 2009)
The Walter Cronkite Papers at the University of Texas at Austin
FBI Records: The Vault - Walter Leland Cronkite at vault.fbi.gov
1916 births
2009 deaths
20th-century American journalists
American male journalists
60 Minutes correspondents
Amateur radio people
American broadcast news analysts
American game show hosts
American television news anchors
American television reporters and correspondents
CBS News people
Drug policy reform activists
Fellows of the American Academy of Arts and Sciences
Journalists from Houston
Oklahoma Sooners football announcers
Peabody Award winners
People from St. Joseph, Missouri
Presidential Medal of Freedom recipients
San Jacinto High School alumni
Space advocates
Moody College of Communication alumni
American war correspondents of the Vietnam War
American war correspondents of World War II
20th-century American Episcopalians
Recipients of Ischia International Journalism Award
Members of the American Philosophical Society
United States Coast Guard Auxiliary officers
| true |
[
"Anthony Mason is an American broadcast journalist. He has worked as a reporter, anchor and correspondent for CBS News since 1986, and was weekday co-host of its flagship morning program CBS This Morning from 2019 until early September 2021. He has also served as an interim anchor for the weekday editions of the CBS Evening News.\n\nEarly life\nMason was educated at St. George's School, a boarding school in Middletown, Rhode Island. In 1980 he graduated from Georgetown University In Washington, D.C.\n\nCareer\n\nEarly career\nMason worked at KJRH-TV in Tulsa, Oklahoma. He then spent two years at then-CBS owned WCAU-TV in Philadelphia, the start of his association with the network. His last position before joining CBS News was at WCBS-TV in New York City.\n\nCBS News & CBS This Morning\nMason joined CBS News as a correspondent in 1986. He was the London Bureau correspondent from 1987 to 1990. From 1991 to 1993, Mason was the Chief Moscow Correspondent. He contributed award-winning coverage of the 1991 Soviet coup attempt from Moscow, Russia. He has been working in New York City since 1993. Mason was named the Business Correspondent in 1998. In early 2012 Mason became the co-anchor of CBS This Morning Saturday, and in 2019 became a co-host of the popular CBS This Morning weekday program.\n\nCBS Evening News\nOn May 31, 2017, CBS News announced that Mason would become the interim anchor for the weekday editions of the CBS Evening News, replacing Scott Pelley in that role. This was made effective on June 19, 2017. On October 25, CBS News announced that Jeff Glor would become the permanent weekday anchor. Mason's last day as anchor of CBS Evening News was Friday, December 1, 2017, with Glor becoming the new permanent weekday anchor of the program the following Monday, December 4.\n\nCBS Sunday Morning\nAnthony Mason also serves as a main correspondent and occasional substitute for CBS Sunday Morning with Jane Pauley. For most of the second half of 2017, Mason was absent from the broadcast due to his interim anchor position at the CBS Evening News.\n\nAwards\nIn 1985, Mason won the New York Associated Press Award for General Excellence of Individual Reporting on Vietnam Veterans. He won an Emmy Award for Outstanding Individual Achievement by a Reporter, and the Pennsylvania Associated Press Award for Best Feature Story.\n\nPersonal life\nMason has been married to Christina Anne Unhoch since 1994, and they have a daughter and son, residing in Manhattan. Mason also has one daughter from a previous marriage to advice columnist Amy Dickinson (1986–1990).\n\nSee also\n New Yorkers in journalism\n\nReferences\n\nExternal links\nIMDB Profile\n\nAmerican television reporters and correspondents\nCBS News people\nAmerican male journalists\n1956 births\nLiving people\nGeorgetown University alumni\nSt. George's School, Newport alumni",
"Jeffrey Todd Glor (born July 12, 1975) is an American journalist, co-host of CBS Saturday Morning and a CBS News special correspondent. He had previously anchored the CBS Evening News from 2017 to 2019.\n\nEarly life and education\nGlor was born in Buffalo, New York, where he attended Kenmore East High School, a public high school in his hometown of Tonawanda, New York. He graduated from Syracuse University in 1997 with dual degrees in journalism (from the S.I. Newhouse School of Public Communications) and economics. At Syracuse, he was awarded the Henry J. Wolff prize, given to the Newhouse student \"most proficient in journalism.”\n\nLife and career\nGlor was co-anchor of WSTM-TV Syracuse's 5 p.m. newscast and a reporter for the 11 p.m. newscast (2000–2003). He was the morning news anchor from 1997 to 2000. He joined WSTM as a part-time producer while still attending college. Glor was named \"Best Male News Anchor\" by Syracuse New Times and one of the 40 most promising professionals under the age of 40. Glor was a contributing researcher and writer on The Legal Handbook for N.Y. State Journalists. He served as weekend evening news anchor and weekday reporter for WHDH in Boston from 2003 to 2007.\n\nHe joined CBS News in 2007 as co-anchor, and later newsreader, on the Saturday Early Show. He also reported primarily for the weekday version of The Early Show, including an extended period in Iraq, China, and on the presidential campaign in 2008. From 2008 rotating with Russ Mitchell until 2009 to 2010, he anchored the CBS Saturday Evening News. Also in 2009, he began to report for other broadcasts, including the CBS Evening News and CBS Sunday Morning, for which he won an Emmy.\n\nHe served as news anchor for The Early Show from January 2011 to January 2012. Following that in 2012, he anchored the Saturday edition of the newly launched CBS This Morning, the successor to The Early Show, and also began to focus reporting on long-form stories as a correspondent for CBS This Morning. From 2012 to 2016, he anchored the CBS Sunday Evening News, and from 2013 to 2014, he was the correspondent on extended investigations for the CBS Evening News, including recalls at General Motors and Takata. In 2015 and 2016, he contributed a wide range of stories to 60 Minutes Sports. He also began filling in for Charlie Rose on his eponymous show on PBS.\n\nOn October 25, 2017, CBS announced that Glor would become the new permanent anchor for the CBS Evening News in late 2017, replacing Scott Pelley, who left the position in June 2017. (Anthony Mason had been anchoring the program on an interim basis after Pelley's departure.) Glor became the new permanent weekday anchor of the CBS Evening News on December 4, 2017.\n\nIn December 2017, Glor interviewed French President Emmanuel Macron at the One Planet Summit in Paris, following Donald Trump's decision to pull the U.S. out of the 2015 Paris Accords. That night he broadcast the Evening News live from the Élysée Palace, a first for any American network.\n\nOn May 29, 2018, the CBS Evening News with Jeff Glor revived the in-depth segment \"Eye on America\", first launched by CBS News in 1991. Produced by domestic news bureaus, the immersive reports focus on key issues such as the role of teachers in the age of mass shootings, sanctuary cities, opioid addiction, and more.\n\nOn May 6, 2019, Susan Zirinsky, president of CBS News, announced that, beginning in the summer, Norah O'Donnell would be the new anchor and managing editor of the CBS Evening News and that the network was \"discussing opportunities\" for Glor to remain at CBS News. His last broadcast of the CBS Evening News was May 10, 2019, whereupon he wished O'Donnell \"the best of luck\" and paid tribute to the behind-the-scenes team by running full staff credits. Rotating series of anchors anchored on an interim basis.\n\nStarting June 22, 2019, Glor joined Dana Jacobson and Michelle Miller as co-host of CBS This Morning: Saturday, later retitled CBS Saturday Morning, and is also serving as a CBS News special correspondent reporting feature stories and investigative reports for the network.\n\nPersonal life\nA fan of the Buffalo Bills, on August 30, 2011, he interviewed the former Bills head coach Marv Levy on The Early Show.\n\nGlor and his wife, Nicole (née Glab), a fitness instructor and former college cheerleader, whom he met at Syracuse University, live in Greenwich, Connecticut and have two children: a son and a daughter. Glor's brother, Richard, is an expert on lizard evolution and is the Curator of Herpetology at the Kansas University Biodiversity Institute and Museum of Natural History.\n\nSee also\n New Yorkers in journalism\n\nReferences\n\nExternal links\n\n1975 births\nLiving people\nTelevision personalities from Buffalo, New York\nPeople from Tonawanda, New York\nAmerican reporters and correspondents\nAmerican television news anchors\nS. I. Newhouse School of Public Communications alumni\nNews & Documentary Emmy Award winners\nAmerican male journalists\nCBS News people\nJournalists from New York (state)"
] |
[
"Walter Cronkite",
"Anchor of the CBS Evening News",
"When did Walter join CBS Evening news?",
"but later the CBS Evening News on September 2, 1963,",
"for how long was he the anchor of CBS evening News?",
"Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news."
] |
C_6ff1c1bd96ab4d89bc212590b574ea85_0
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What kind of stories did Walter report?
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What kind of stories did Walter Cronkite report?
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Walter Cronkite
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On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news. During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored the Huntley-Brinkley Report. For much of the 1960s, the Huntley-Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley-Brinkley Report in viewership during the summer months. In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981. One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981. CANNOTANSWER
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A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963.
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Walter Leland Cronkite Jr. (November 4, 1916 – July 17, 2009) was an American broadcast journalist who served as anchorman for the CBS Evening News for 19 years (1962–1981). During the 1960s and 1970s, he was often cited as "the most trusted man in America" after being so named in an opinion poll. Cronkite reported many events from 1937 to 1981, including bombings in World War II; the Nuremberg trials; combat in the Vietnam War; the Dawson's Field hijackings; Watergate; the Iran Hostage Crisis; and the assassinations of President John F. Kennedy, civil rights pioneer Martin Luther King Jr., and Beatles musician John Lennon. He was also known for his extensive coverage of the U.S. space program, from Project Mercury to the Moon landings to the Space Shuttle. He was the only non-NASA recipient of an Ambassador of Exploration award. Cronkite is known for his departing catchphrase, "And that's the way it is", followed by the date of the broadcast.
Early life and education
Cronkite was born on November 4, 1916, in Saint Joseph, Missouri, the son of Helen Lena (née Fritsche) and Dr. Walter Leland Cronkite, a dentist.
Cronkite lived in Kansas City, Missouri, until he was ten, when his family moved to Houston, Texas. He attended elementary school at Woodrow Wilson Elementary School (now Baker Montessori School), junior high school at Lanier Junior High School (now Lanier Middle School) in Houston, and high school at San Jacinto High School, where he edited the high school newspaper. He was a member of the Boy Scouts. He attended college at the University of Texas at Austin (UT), entering in the Fall term of 1933, where he worked on the Daily Texan and became a member of the Nu chapter of the Chi Phi Fraternity. He also was a member of the Houston chapter of DeMolay, a Masonic fraternal organization for boys. While attending UT, Cronkite had his first taste of performance, appearing in a play with fellow student Eli Wallach. He dropped out in 1935, not returning for the Fall term, in order to concentrate on journalism.
Career
He dropped out of college in his junior year, in the fall term of 1935, after starting a series of newspaper reporting jobs covering news and sports. He entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma. In 1936, he met his future wife, Mary Elizabeth "Betsy" Maxwell, while working as the sports announcer for KCMO (AM) in Kansas City, Missouri. His broadcast name was "Walter Wilcox". He would explain later that radio stations at the time did not want people to use their real names for fear of taking their listeners with them if they left. In Kansas City, he joined the United Press International in 1937.
With his name now established, he received a job offer from Edward R. Murrow at CBS News to join the Murrow Boys team of war correspondents, relieving Bill Downs as the head of the Moscow bureau. CBS offered Cronkite $125 ($2,235 in 2020 money) a week along with "commercial fees" amounting to $25 ($447 in 2020) for almost every time Cronkite reported on air. Up to that point, he had been making $57.50 ($1,027 in 2020) per week at UP, but he had reservations about broadcasting. He initially accepted the offer. When he informed his boss Harrison Salisbury, UP countered with a raise of $17.50 ($312 in 2020) per week; Hugh Baillie also offered him an extra $20 ($357 in 2020) per week to stay. Cronkite ultimately accepted the UP offer, a move which angered Murrow and drove a wedge between them that would last for years.
Cronkite became one of the top American reporters in World War II, covering battles in North Africa and Europe. He was on board starting in Norfolk, Virginia, through her service off the coast of North Africa as part of Operation Torch, and thence back to the US. On the return trip, Cronkite was flown off Texas in one of her Vought OS2U Kingfisher aircraft when Norfolk was within flying distance. He was granted permission to be flown the rest of the distance to Norfolk so that he could outpace a rival correspondent on to return to the US and to issue the first uncensored news reports to be published about Operation Torch. Cronkite's experiences aboard Texas launched his career as a war correspondent. Subsequently, he was one of eight journalists selected by the United States Army Air Forces to fly bombing raids over Germany in a Boeing B-17 Flying Fortress part of group called The Writing 69th, and during a mission fired a machine gun at a German fighter. He also landed in a glider with the 101st Airborne Division in Operation Market Garden and covered the Battle of the Bulge. After the war, he covered the Nuremberg trials and served as the United Press main reporter in Moscow from 1946 to 1948.
Early years at CBS
In 1950, Cronkite joined CBS News in its young and growing television division, again recruited by Murrow. Cronkite began working at WTOP-TV (now WUSA), the CBS affiliate in Washington, D.C.. He originally served as anchor of the network's 15-minute late-Sunday-evening newscast Up To the Minute, which followed What's My Line? at 11:00 pm ET from 1951 through 1962.
Although it was widely reported that the term "anchor" was coined to describe Cronkite's role at both the Democratic and Republican National Conventions, marking the first nationally televised convention coverage, other news presenters bore the title before him. Cronkite anchored the network's coverage of the 1952 presidential election as well as later conventions. In 1964 he was temporarily replaced by the team of Robert Trout and Roger Mudd; this proved to be a mistake, and Cronkite returned to the anchor chair for future political conventions.
From 1953 to 1957, Cronkite hosted the CBS program You Are There, which reenacted historical events, using the format of a news report. His famous last line for these programs was: "What sort of day was it? A day like all days, filled with those events that alter and illuminate our times ... and you were there." In 1971, the show was revived and redesigned to attract an audience of teenagers and young adults, hosted again by Cronkite on Saturday mornings. In 1957, he began hosting The Twentieth Century (eventually renamed The 20th Century), a documentary series about important historical events of the century composed almost exclusively of newsreel footage and interviews. A long-running hit, the show was again renamed as The 21st Century in 1967 with Cronkite hosting speculative reporting on the future for another three years. Cronkite also hosted It's News to Me, a game show based on news events.
During the presidential elections of 1952 and 1956 Cronkite hosted the CBS news-discussion series Pick the Winner.
Another of his network assignments was The Morning Show, CBS' short-lived challenge to NBC's Today in 1954. His on-air duties included interviewing guests and chatting with a lion puppet named Charlemane about the news. He considered this discourse with a puppet as "one of the highlights" of the show. He added, "A puppet can render opinions on people and things that a human commentator would not feel free to utter. I was and I am proud of it." Cronkite also angered the R. J. Reynolds Tobacco Company, the show's sponsor, by grammatically correcting its advertising slogan. Instead of saying "Winston tastes good like a cigarette should" verbatim, he substituted "as" for "like."
He was the lead broadcaster of the network's coverage of the 1960 Winter Olympics, the first-ever time such an event was televised in the United States. He replaced Jim McKay, who had suffered a mental breakdown.
Anchor of the CBS Evening News
On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.
During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored The Huntley–Brinkley Report. For much of the 1960s, The Huntley–Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley–Brinkley Report in viewership during the summer months.
In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 Moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981.
One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981.
Historic moments
Kennedy's assassination
Cronkite is vividly remembered for breaking the news of the assassination of John F. Kennedy on Friday, November 22, 1963. Cronkite had been standing at the United Press International wire machine in the CBS newsroom as the bulletin of the President's shooting broke and he clamored to get on the air to break the news as he wanted CBS to be the first network to do so.
There was a problem facing the crew in the newsroom, however. There was no television camera in the studio at the time as the technical crew was working on it. Eventually, the camera was retrieved and brought back to the newsroom. Because of the magnitude of the story and the continuous flow of information coming from various sources, time was of the essence but the camera would take at least twenty minutes to become operational under normal circumstances. The decision was made to dispatch Cronkite to the CBS Radio Network booth to report the events and play the audio over the television airwaves while the crew worked on the camera to see if they could get it set up quicker.
Meanwhile, CBS was ten minutes into its live broadcast of the soap opera As the World Turns (ATWT), which had begun at the very minute of the shooting. A "CBS News Bulletin" bumper slide abruptly broke into the broadcast at 1:40 pm EST. Over the slide, Cronkite began reading what would be the first of three audio-only bulletins that were filed in the next twenty minutes:
While Cronkite was reading this bulletin, a second one arrived, mentioning the severity of Kennedy's wounds:
Just before the bulletin cut out, a CBS News staffer was heard saying "Connally too," apparently having just heard the news that Texas Governor John Connally had also been shot while riding in the presidential limousine with his wife Nellie and Mr. and Mrs. Kennedy.
CBS then rejoined the telecast of ATWT during a commercial break, which was followed by show announcer Dan McCullough's usual fee plug for the first half of the program and the network's 1:45 pm station identification break. Just before the second half of ATWT was to begin, the network broke in with the bumper slide a second time. In this bulletin Cronkite reported in greater detail about the assassination attempt on the President, while also breaking the news of Governor Connally's shooting.
Cronkite then recapped the events as they had happened: that the President and Governor Connally had been shot and were in the emergency room at Parkland Hospital, and no one knew their condition as yet. CBS then decided to return to ATWT, which was now midway through its second segment.
The cast had continued to perform live while Cronkite's bulletins broke into the broadcast, unaware of the unfolding events in Dallas. ATWT then took another scheduled commercial break. The segment before the break would be the last anyone would see of any network's programming until Tuesday, November 26. During the commercial, the bumper slide interrupted the proceedings again and Cronkite updated the viewers on the situation in Dallas. This bulletin went into more detail than the other two, revealing that Kennedy had been shot in the head, Connally in the chest. Cronkite remained on the air for the next ten minutes, continuing to read bulletins as they were handed to him, and recapping the events as they were known. He also related a report given to reporters by Texas Congressman Albert Thomas that the President and Governor were still alive, the first indication of their condition. At 2:00 pm EST, with the top of the hour station break looming, Cronkite told the audience that there would be a brief pause so that all of CBS' affiliates, including those in the Mountain and Pacific time zones which were not on the same schedule, could join the network. He then left the radio booth and went to the anchor desk in the newsroom.
Within twenty seconds of the announcement, every CBS affiliate except Dallas' KRLD (which was providing local coverage) was airing the network's feed. The camera was finally operational by this time and enabled the audience to see Cronkite, who was clad in shirt and tie but without his suit coat, given the urgent nature of the story. Cronkite reminded the audience, again, of the attempt made on the life of the President and tossed to KRLD news director Eddie Barker at the Dallas Trade Mart, where Kennedy was supposed to be making a speech before he was shot. Barker relayed information that Kennedy's condition was extremely critical. Then, after a prayer for Kennedy, Barker quoted an unofficial report that the President was dead but stressed it was not confirmed.
After several minutes, the coverage came back to the CBS newsroom where Cronkite reported that the President had been given blood transfusions and two priests had been called into the room. He also played an audio report from KRLD that someone had been arrested in the assassination attempt at the Texas School Book Depository. Back in Dallas Barker announced another report of the death of the President, mentioning that it came from a reliable source. Before the network left KRLD's feed for good, Barker first announced, then retracted, a confirmation of Kennedy's death.
CBS cut back to Cronkite reporting that one of the priests had administered last rites to the president. In the next few minutes, several more bulletins reporting that Kennedy had died were given to Cronkite, including one from CBS's own correspondent Dan Rather that had been reported as confirmation of Kennedy's demise by CBS Radio. As these bulletins came into the newsroom, it was becoming clearer that Kennedy had in fact lost his life. Cronkite, however, stressed that these bulletins were simply reports and not any official confirmation of the President's condition; some of his colleagues recounted in 2013 that his early career as a wire service reporter taught him to wait for official word before reporting a story. Still, as more word came in, Cronkite seemed to be resigned to the fact that it was only a matter of time before the assassination was confirmed. He appeared to concede this when, several minutes after he received the Rather report, he received word that the two priests who gave the last rites to Kennedy told reporters on the scene that he was dead. Cronkite said that report "seems to be as close to official as we can get", but would not declare it as such. Nor did he do so with a report from Washington, DC that came moments later, which said that government sources were now reporting the President was dead (this information was passed on to ABC as well, which took it as official confirmation and reported it as such; NBC did not report this information at all and chose instead to rely on reports from Charles Murphy and Robert MacNeil to confirm their suspicions).
At 2:38 pm EST, while filling in time with some observations about the security presence in Dallas, which had been increased due to violent acts against United Nations Ambassador Adlai Stevenson in the city earlier that year, Cronkite was handed a new bulletin. After looking it over for a moment, he took off his glasses, and made the official announcement:
After making that announcement, Cronkite paused briefly, put his glasses back on, and swallowed hard to maintain his composure. With noticeable emotion in his voice he intoned the next sentence of the news report:
With emotion still in his voice and eyes watering, Cronkite once again recapped the events after collecting himself, incorporating some wire photos of the visit and explaining the significance of the pictures now that Kennedy was dead. He reminded the viewers that Vice President Johnson was now the President and was to be sworn in, that Governor Connally's condition was still unknown, and that there was no report of whether the assassin had been captured. He then handed the anchor position to Charles Collingwood, who had just entered the newsroom, took his suit coat, and left the room for a while.
At about 3:30 pm EST, Cronkite came back into the newsroom to relay some new information. The two major pieces of information involved the Oath of Office being administered to now-President Johnson, which officially made him the thirty-sixth President, and that Dallas police had arrested a man named Lee Harvey Oswald whom they suspected had fired the fatal shots. After that, Cronkite left again to begin preparing for that night's CBS Evening News, which he returned to anchor as normal. For the next four days, along with his colleagues, Cronkite continued to report segments of uninterrupted coverage of the assassination, including the announcement of Oswald's death in the hands of Jack Ruby on Sunday. The next day, on the day of the funeral, Cronkite concluded CBS Evening News with the following assessment about the events of the last four dark days:
Referring to his coverage of Kennedy's assassination, in a 2006 TV interview with Nick Clooney, Cronkite recalled,
In a 2003 CBS special commemorating the 40th anniversary of the assassination, Cronkite recalled his reaction upon having the death confirmed to him, he said,
According to historian Douglas Brinkley, Cronkite provided a sense of perspective throughout the unfolding sequence of disturbing events.
Vietnam War
In mid-February 1968, on the urging of his executive producer Ernest Leiser, Cronkite and Leiser journeyed to Vietnam to cover the aftermath of the Tet Offensive. They were invited to dine with General Creighton Abrams, the commander of all forces in Vietnam, whom Cronkite knew from World War II. According to Leiser, Abrams told Cronkite, "we cannot win this Goddamned war, and we ought to find a dignified way out."
Upon return, Cronkite and Leiser wrote separate editorial reports based on that trip. Cronkite, an excellent writer, preferred Leiser's text over his own. On February 27, 1968, Cronkite closed "Report from Vietnam: Who, What, When, Where, Why?" with that editorial report:
Following Cronkite's editorial report, President Lyndon B. Johnson is claimed by some to have said, "If I've lost Cronkite, I've lost Middle America." However, this account of Johnson has been questioned by other observers in books on journalistic accuracy. At the time the editorial aired, Johnson was in Austin, Texas, attending Texas Governor John Connally's birthday gala and was giving a speech in his honor.
In his book This Just In: What I Couldn't Tell You on TV, CBS News correspondent Bob Schieffer, who was serving as a reporter for the Fort Worth Star-Telegram when Cronkite's editorial aired, acknowledged that Johnson did not see the original broadcast but also defended the allegation that Johnson had made the remark. According to Schieffer, Johnson's aide George Christian "told me that the President apparently saw some clips of it the next day" and that "That's when he made the remark about Cronkite. But he knew then that it would take more than Americans were willing to give it." When asked about the remark during a 1979 interview, Christian claimed he had no recollection about what the President had said. In his 1996 memoir A Reporter's Life, Cronkite claimed he was at first unsure about how much of an impact his editorial report had on Johnson's decision to drop his bid for re-election, and what eventually convinced him the President had made the statement was a recount from Bill Moyers, a journalist and former aide to Johnson.
Several weeks later, Johnson, who sought to preserve his legacy and was now convinced his declining health could not withstand growing public criticism, announced he would not seek reelection.
During the 1968 Democratic National Convention in Chicago, Cronkite was anchoring the CBS network coverage as violence and protests occurred outside the convention, as well as scuffles inside the convention hall. When Dan Rather was punched to the floor (on camera) by security personnel, Cronkite commented, "I think we've got a bunch of thugs here, Dan."
Other historic events
The first publicly transmitted live trans-Atlantic program was broadcast via the Telstar satellite on July 23, 1962, at 3:00 pm EDT, and Cronkite was one of the main presenters in this multinational broadcast. The broadcast was made possible in Europe by Eurovision and in North America by NBC, CBS, ABC, and the CBC. The first public broadcast featured CBS's Cronkite and NBC's Chet Huntley in New York, and the BBC's Richard Dimbleby in Brussels. Cronkite was in the New York studio at Rockefeller Plaza as the first pictures to be transmitted and received were the Statue of Liberty in New York and the Eiffel Tower in Paris. The first segment included a televised major league baseball game between the Philadelphia Phillies and the Chicago Cubs at Wrigley Field. From there, the video switched first to Washington, D.C.; then to Cape Canaveral, Florida; then to Quebec City, Quebec, and finally to Stratford, Ontario. The Washington segment included a press conference with President Kennedy, talking about the price of the American dollar, which was causing concern in Europe. This broadcast inaugurated live intercontinental news coverage, which was perfected later in the sixties with Early Bird and other Intelsat satellites.
General of the Army Dwight D. Eisenhower returned to his former Supreme Headquarters Allied Expeditionary Force (SHAEF) headquarters for an interview by Cronkite on the CBS News Special Report D-Day + 20, telecast on June 6, 1964.
Cronkite is also remembered for his coverage of the United States space program, and at times was visibly enthusiastic, rubbing his hands together on camera with a smile and uttering, "Whew...boy" on July 20, 1969, when the Apollo 11 lunar landing mission put the first men on the Moon.
Cronkite participated in Richard Nixon's 1972 visit to China. Because Cronkite was colorblind, he had to ask others what color of coat First Lady Pat Nixon was wearing when they disembarked in Peking (Beijing).
According to the 2006 PBS documentary on Cronkite, there was "nothing new" in his reports on the Watergate affair; however, Cronkite brought together a wide range of reporting, and his credibility and status is credited by many with pushing the Watergate story to the forefront with the American public, ultimately resulting in the resignation of President Richard M. Nixon on August 9, 1974. Cronkite had anchored the CBS coverage of Nixon's address, announcing his impending resignation, the night before.
The January 22, 1973, broadcast of the CBS Evening News saw Cronkite break the news of the death of another notable American political figure: former president Lyndon B. Johnson. At approximately 6:38 pm Eastern Time, while a pre-recorded report that the Vietnam peace talks in Paris had been successful was being played for the audience, Cronkite received a telephone call in the studio while off camera. The call was from Tom Johnson, the former press secretary for President Johnson who was at the time serving the former chief executive as station manager at KTBC-TV in Austin, Texas, which was affiliated with CBS at the time and was owned by the Johnson family. During the conversation the production staff cut away from the report back to the live camera in studio as Cronkite was still on the phone. After he was made aware that he was back on camera, Cronkite held up a finger to let everyone watching know he required a moment to let Johnson finish talking. Once Cronkite got what he needed, he thanked Johnson and asked him to stay on the line. He then turned to the camera and began to relay what Johnson had said to him.
During the final ten minutes of that broadcast, Cronkite reported on the death, giving a retrospective on the life of the nation's 36th president, and announced that CBS would air a special on Johnson later that evening. This story was re-told on a 2007 CBS-TV special honoring Cronkite's 90th birthday.
NBC-TV's Garrick Utley, anchoring NBC Nightly News that evening, also interrupted his newscast in order to break the story, doing so about three minutes after Cronkite on CBS. The news was not reported on that night's ABC Evening News, which was anchored by Howard K. Smith and Harry Reasoner, because ABC at the time fed their newscast live at 6:00 pm Eastern instead of 6:30 to get a head start on CBS and NBC for those stations that aired ABC Evening News live (although not every affiliate did).
On November 22, 1963, Cronkite introduced The Beatles to the United States by airing a four-minute story about the band on CBS Morning News. The story was scheduled to be shown again on the CBS Evening News that same day, but the assassination of John F. Kennedy prevented the broadcast of the regular evening news. The Beatles story was aired on the evening news program on December 10.
Retirement
On February 14, 1980, Cronkite announced that he intended to retire from the CBS Evening News; at the time, CBS had a policy of mandatory retirement by age 65. Although sometimes compared to a father figure or an uncle figure, in an interview about his retirement he described himself as being more like a "comfortable old shoe" to his audience. His last day in the anchor chair at the CBS Evening News was on March 6, 1981; he was succeeded the following Monday by Dan Rather.
Cronkite's farewell statement:
On the eve of Cronkite's retirement, he appeared on The Tonight Show hosted by Johnny Carson. The following night, Carson did a comic spoof of his on-air farewell address.
Other activities
Post-CBS Evening News
As he had promised on his last show as anchor in 1981, Cronkite continued to broadcast occasionally as a special correspondent for CBS, CNN, and NPR into the 21st century; one such occasion was Cronkite anchoring the second space flight by John Glenn in 1998 as he had Glenn's first in 1962. Cronkite hosted Universe until its cancellation in 1982. In 1983, he reported on the British general election for the ITV current affairs series World In Action, interviewing, among many others, the victorious Prime Minister, Margaret Thatcher. Cronkite hosted the annual Vienna New Year's Concert on PBS from 1985 to 2008, succeeded by Julie Andrews in 2009. For many years, until 2002, he was also the host of the annual Kennedy Center Honors.
In 1998, Cronkite hosted the 90-minute documentary, Silicon Valley: A 100 Year Renaissance, produced by the Santa Clara Valley Historical Association. The film documented Silicon Valley's rise from the origin of Stanford University to the current high-technology powerhouse. The documentary was broadcast on PBS throughout the United States and in 26 countries. Prior to 2004, he could also be seen in the opening movie "Back to Neverland" shown in the Walt Disney World attraction The Magic of Disney Animation, interviewing Robin Williams as if he is still on the CBS News channel, ending his on-camera time with Cronkite's famous catchphrase. In the feature, Cronkite describes the steps taken in the creation of an animated film, while Williams becomes an animated character (and even becomes Cronkite, impersonating his voice). He also was shown inviting Disney guests and tourists to the Disney Classics Theater.
On May 21, 1999, Cronkite participated in a panel discussion on "Integrity in the Media" with Ben Bradlee and Mike McCurry at the Connecticut Forum in Hartford, Connecticut. Cronkite provided an anecdote about taking a picture from a house in Houston, Texas, where a newsworthy event occurred and being praised for getting a unique photograph, only to find out later that the city desk had provided him with the wrong address.
Voice-overs
Cronkite narrated the IMAX film about the Space Shuttle, The Dream is Alive, released in 1985. From May 26, 1986, to August 15, 1994, he was the narrator's voice in the EPCOT Center attraction Spaceship Earth, at Walt Disney World in Orlando, Florida. He provided the pivotal voice of Captain Neweyes in the 1993 animated film We're Back: A Dinosaur's Story, delivering his trademark line at the end. In 1995, he made an appearance on Broadway, providing the voice of the titular book in the 1995 revival of How to Succeed in Business Without Really Trying.
Cronkite was a finalist for NASA's Journalist in Space program, which mirrored the Teacher in Space Project, an opportunity that was suspended after the Challenger disaster in 1986. He recorded voice-overs for the 1995 film Apollo 13, modifying the script he was given to make it more "Cronkitian." In 2002, Cronkite was the voice of Benjamin Franklin in the educational television cartoon Liberty's Kids, which included a news segment ending with the same phrase he did back on the CBS Evening News. This role earned him Daytime Emmy nominations for Outstanding Performer in a Children's Series, in 2003 and 2004, but he did not win. His distinctive voice provided the narration for the television ads of the University of Texas, Austin, his alma mater, with its 'We're Texas' ad campaign.
He held amateur radio operator license KB2GSD and narrated a 2003 American Radio Relay League documentary explaining amateur radio's role in disaster relief. The video tells Amateur Radio's public service story to non-hams, focusing on ham radio's part in helping various agencies respond to wildfires in the Western US during 2002, ham radio in space and the role Amateur Radio plays in emergency communications. "Dozens of radio amateurs helped the police and fire departments and other emergency services maintain communications in New York, Pennsylvania and Washington, DC," narrator Cronkite intoned in reference to ham radio's response to the terrorist attacks on September 11, 2001. Unusually, Cronkite was a Novice-class licensee—the entry level license—for his entire, and long, tenure in the hobby.
On February 15, 2005, he went into the studio at CBS to record narration for WCC Chatham Radio, a documentary about Guglielmo Marconi and his Chatham station, which became the busiest ship-to-shore wireless station in North America from 1914 to 1994. The documentary was directed by Christopher Seufert of Mooncusser Films and premiered at the Chatham Marconi Maritime Center in April 2005. In 2006, Cronkite hosted the World War One Living History Project, a program honoring America's final handful of veterans from the First World War. The program was created by Treehouse Productions and aired on NPR on November 11, 2006. In May 2009, Legacy of War, produced by PBS, was released. Cronkite chronicles, over archive footage, the events following World War II that resulted in America's rise as the dominant world power.
Prior to his death, "Uncle Walter" hosted a number of TV specials and was featured in interviews about the times and events that occurred during his career as America's "most trusted" man. In July 2006, the 90-minute documentary Walter Cronkite: Witness to History aired on PBS. The special was narrated by Katie Couric, who assumed the CBS Evening News anchor chair in September 2006. Cronkite provided the voiceover introduction to Couric's CBS Evening News, which began on September 5, 2006. Cronkite's voiceover was notably not used on introducing the broadcast reporting his funeral – no voiceover was used on this occasion.
TV and movie appearances
Cronkite made a cameo appearance on a 1974 episode of The Mary Tyler Moore Show, in which he met with Lou Grant in his office. Ted Baxter, who at first tried to convince Cronkite that he (Baxter) was as good a newsman as Eric Sevareid, pleaded with Cronkite to hire him for the network news, at least to give sport scores, and gave an example: "The North Stars 3, the Kings Oh!" Cronkite turned to Grant and said, "I'm gonna get you for this!" Cronkite later said that he was disappointed that his scene was filmed in one take, since he had hoped to sit down and chat with the cast.
In the late 1980s and again in the 1990s, Cronkite appeared on the news-oriented situation comedy Murphy Brown as himself. Both episodes were written by the Emmy Award-winning team of Tom Seeley and Norm Gunzenhauser. He also continued hosting a variety of series. In the early 1980s, he was host of the documentary series World War II with Walter Cronkite. In 1991, he hosted the TV documentary Dinosaur! on A&E (not related to the documentary of the same title hosted by Christopher Reeve on CBS six years earlier), and a 1994 follow-up series, Ape Man: The Story of Human Evolution. In 1995, he narrated the World Liberty Concert held in the Netherlands.
Cronkite routinely hosted the Kennedy Center Honors from 1981 to 2002.
Cronkite appeared briefly in the 2005 dramatic documentary The American Ruling Class written by Lewis Lapham; the 2000 film Thirteen Days reporting on the Cuban Missile Crisis; and provided the opening synopsis of the American Space Program leading to the events in Apollo 13 for the 1995 Ron Howard film of the same name.
Political activism
Cronkite wrote a syndicated opinion column for King Features Syndicate. In 2005 and 2006, he contributed to The Huffington Post. Cronkite was the honorary chairman of The Interfaith Alliance. In 2006, he presented the Walter Cronkite Faith and Freedom Award to actor and activist George Clooney on behalf of his organization at its annual dinner in New York.
Cronkite was a vocal advocate for free airtime for political candidates. He worked with the Alliance for Better Campaigns and Common Cause, for instance, on an unsuccessful lobbying effort to have an amendment added to the McCain-Feingold-Shays-Meehan Campaign Finance Reform Act of 2001 that would have required TV broadcast companies to provide free airtime to candidates. Cronkite criticized the present system of campaign finance which allows elections to "be purchased" by special interests, and he noted that all the European democracies "provide their candidates with extensive free airtime." "In fact," Cronkite pointed out, "of all the major nations worldwide that profess to have democracies, only seven – just seven – do not offer free airtime" This put the United States on a list with Ecuador, Honduras, Malaysia, Taiwan, Tanzania, and Trinidad and Tobago. Cronkite concluded that "The failure to give free airtime for our political campaigns endangers our democracy." During the elections held in 2000, the amount spent by candidates in the major TV markets approached $1 billion. "What our campaign asks is that the television industry yield just a tiny percentage of that windfall, less than 1 percent, to fund free airtime."
He was a member of the Constitution Project's bipartisan Liberty and Security Committee. He also supported the nonprofit world hunger organization Heifer International.
In 1998, he supported President Bill Clinton during Clinton's impeachment trial. He was also a proponent of limited world government on the American federalist model, writing fundraising letters for the World Federalist Association (now Citizens for Global Solutions). In accepting the 1999 Norman Cousins Global Governance Award at the ceremony at the United Nations, Cronkite said:
It seems to many of us that if we are to avoid the eventual catastrophic world conflict we must strengthen the United Nations as a first step toward a world government patterned after our own government with a legislature, executive and judiciary, and police to enforce its international laws and keep the peace. To do that, of course, we Americans will have to yield up some of our sovereignty. That would be a bitter pill. It would take a lot of courage, a lot of faith in the new order. But the American colonies did it once and brought forth one of the most nearly perfect unions the world has ever seen.
Cronkite contrasted his support for accountable global government with the opposition to it by politically active Christian fundamentalists in the United States:
Even as with the American rejection of the League of Nations, our failure to live up to our obligations to the United Nations is led by a handful of willful senators who choose to pursue their narrow, selfish political objectives at the cost of our nation's conscience. They pander to and are supported by the Christian Coalition and the rest of the religious right wing. Their leader, Pat Robertson, has written that we should have a world government but only when the messiah arrives. Any attempt to achieve world order before that time must be the work of the Devil! Well join me... I'm glad to sit here at the right hand of Satan.
In 2003, Cronkite, who owned property on Martha's Vineyard, became involved in a long-running debate over his opposition to the construction of a wind farm in that area. In his column, he repeatedly condemned President George W. Bush and the 2003 invasion of Iraq. Cronkite appeared in the 2004 Robert Greenwald film Outfoxed, where he offered commentary on what he said were unethical and overtly political practices at the Fox News Channel. Cronkite remarked that when Fox News was founded by Rupert Murdoch, "it was intended to be a conservative organization – beyond that; a far-right-wing organization". In January 2006, during a press conference to promote the PBS documentary about his career, Cronkite said that he felt the same way about America's presence in Iraq as he had about their presence in Vietnam in 1968 and that he felt America should recall its troops.
Cronkite spoke out against the War on Drugs in support of the Drug Policy Alliance, writing a fundraising letter and appearing in advertisements on behalf of the DPA. In the letter, Cronkite wrote: "Today, our nation is fighting two wars: one abroad and one at home. While the war in Iraq is in the headlines, the other war is still being fought on our own streets. Its casualties are the wasted lives of our own citizens. I am speaking of the war on drugs. And I cannot help but wonder how many more lives, and how much more money, will be wasted before another Robert McNamara admits what is plain for all to see: the war on drugs is a failure."
Personal life
Cronkite was married for nearly 65 years to Mary Elizabeth 'Betsy' Maxwell Cronkite, from March 30, 1940, until her death from cancer on March 15, 2005. They had three children: Nancy Cronkite, Mary Kathleen (Kathy) Cronkite, and Walter Leland (Chip) Cronkite III (who is married to actress Deborah Rush). Cronkite dated singer Joanna Simon from 2005 to 2009.
A grandson, Walter Cronkite IV, now works at CBS. Cronkite's cousin is former Mayor of Kansas City and 2008 Democratic nominee for Missouri's 6th congressional district Kay Barnes.
Cronkite was an accomplished sailor and enjoyed sailing coastal waters of the United States in his custom-built 48-foot Sunward "Wyntje". Cronkite was a member of the United States Coast Guard Auxiliary, with the honorary rank of commodore. Throughout the 1950s, he was an aspiring sports car racer, even racing in the 1959 12 Hours of Sebring.
Cronkite was reported to be a fan of the game Diplomacy, which was rumored to be Henry Kissinger's favorite game.
Death
In June 2009, Cronkite was reported to be terminally ill. He died on July 17, 2009, at his home in New York City aged 92. He is believed to have died from cerebrovascular disease.
Cronkite's funeral took place on July 23, 2009, at St. Bartholomew's Church in midtown Manhattan, New York City. Among many journalists who attended were Tom Brokaw, Connie Chung, Katie Couric, Charles Gibson, Matt Lauer, Dan Rather, Andy Rooney, Morley Safer, Diane Sawyer, Bob Schieffer, Meredith Vieira, Barbara Walters, and Brian Williams. At his funeral, his friends noted his love of music, including, recently, drumming. He was cremated and his remains buried next to his wife, Betsy, in the family plot in Kansas City.
Legacy
Public credibility and trustworthiness
For many years, until a decade after he left his post as anchor, Cronkite was considered one of the most trusted figures in the United States. For most of his 19 years as anchor, he was the "predominant news voice in America." Affectionately known as "Uncle Walter," he covered many of the important news events of the era so effectively that his image and voice are closely associated with the Cuban Missile Crisis, the assassination of President John F. Kennedy, the Vietnam War, the Apollo 11 Moon landing, and the Watergate scandal. USA Today wrote that "few TV figures have ever had as much power as Cronkite did at his height." Enjoying the cult of personality surrounding Cronkite in those years, CBS allowed some good-natured fun-poking at its star anchorman in some episodes of the network's popular situation comedy All in the Family, during which the lead character Archie Bunker would sometimes complain about the newsman, calling him "Pinko Cronkite."
Cronkite trained himself to speak at a rate of 124 words per minute in his newscasts, so that viewers could clearly understand him. In contrast, Americans average about 165 words per minute, and fast, difficult-to-understand talkers speak close to 200 words per minute.
Awards and honors
In 1968, the faculty of the E. W. Scripps School of Journalism at Ohio University voted to award Cronkite the Carr Van Anda Award "for enduring contributions to journalism." In 1970, Cronkite received a "Freedom of the Press" George Polk Award and the Paul White Award from the Radio Television Digital News Association.
In 1972, in recognition of his career, Princeton University's American Whig-Cliosophic Society awarded Cronkite the James Madison Award for Distinguished Public Service.
In 1981, the year he retired, former president Jimmy Carter awarded Cronkite the Presidential Medal of Freedom. In that year, he also received the S. Roger Horchow Award for Greatest Public Service by a Private Citizen, an award given out annually by Jefferson Awards, and the Paul White Award for lifetime achievement from the Radio Television Digital News Association. In 1985, Cronkite was honored with the induction into the Academy of Television Arts and Sciences Hall of Fame. In 1989 he received the Four Freedoms Award for the Freedom of Speech. He was elected to the American Philosophical Society in 1994. In 1995, he received the Ischia International Journalism Award. In 1999, Cronkite received the Rotary National Award for Space Achievement's Corona Award in recognition of a lifetime of achievement in space exploration. He was elected a Fellow of the American Academy of Arts and Sciences in 2003. On March 1, 2006, Cronkite became the first non-astronaut to receive NASA's Ambassador of Exploration Award. Among Cronkite's numerous awards were four Peabody awards for excellence in broadcasting.
In 2003, Cronkite was honored by the Vienna Philharmonic with the Franz Schalk Gold Medal, in view of his contributions to the New Year's Concert and the cultural image of Austria.
Minor planet 6318 Cronkite, discovered in 1990 by Eleanor Helin is named in his honor.
Cronkite School at Arizona State University
A few years after Cronkite retired, Tom Chauncey, a former owner of KOOL-TV, the then-CBS affiliate in Phoenix, contacted Cronkite, an old friend, and asked him if he would be willing to have the journalism school at Arizona State University named after him. Cronkite immediately agreed. The ASU program acquired status and respect from its namesake.
Cronkite was not just a namesake, but he also took the time to interact with the students and staff of the Walter Cronkite School of Journalism and Mass Communication. Cronkite made the trip to Arizona annually to present the Walter Cronkite Award for Excellence in Journalism to a leader in the field of media.
"The values that Mr. Cronkite embodies – excellence, integrity, accuracy, fairness, objectivity – we try to instill in our students each and every day. There is no better role model for our faculty or our students," said Dean Christopher Callahan.
The school, with approximately 1,700 students, is widely regarded as one of the top journalism schools in the country. It is housed in a new facility in downtown Phoenix that is equipped with 14 digital newsrooms and computer labs, two TV studios, 280 digital student work stations, the Cronkite Theater, the First Amendment Forum, and new technology. The school's students regularly finish at the top of national collegiate journalism competitions, such as the Hearst Journalism Awards program and the Society of Professional Journalists Mark of Excellence Awards. In 2009, students won the Robert F. Kennedy Journalism Award for college print reporting.
In 2008, the state-of-the-art journalism education complex in the heart of ASU's Downtown Phoenix campus was also built in his honor. The Walter Cronkite Regents Chair in Communication seats the Texas College of Communications dean.
Walter Cronkite Papers
The Walter Cronkite papers are preserved at the curatorial Dolph Briscoe Center for American History at the University of Texas at Austin. Occupying 293 linear feet (almost 90 metres) of shelf space, the papers document Cronkite's journalism career. Amongst the collected material are Cronkite's early beginnings while he still lived in Houston. They encompass his coverage of World War II as a United Press International correspondent, where he cemented his reputation by taking on hazardous overseas assignments. During this time he also covered the Nuremberg war crimes trial serving as the chief of the United Press bureau in Moscow. The main content of the papers documents Cronkite's career with CBS News between 1950 and 1981.
The Cronkite Papers assemble a variety of interviews with U.S. presidents, including Herbert Hoover, Harry Truman, and Ronald Reagan. President Lyndon Johnson requested a special interview with Cronkite while he was broadcasting live on CBS.
Between 1990 and 1993, Don Carleton, executive director for the Center for American History, assisted Cronkite as he compiled an oral history to write his autobiography, A Reporter's Life, which was published in 1996. The taped memoirs became an integral part of an eight-part television series Cronkite Remembers, which was shown on the Discovery Channel.
As a newsman, Cronkite devoted his attention to the early days of the space program, and the "space race" between the United States and the Soviet Union. The National Aeronautics and Space Administration honored Cronkite on February 28, 2006. Michael Coats, director of NASA's Lyndon B. Johnson Space Center in Houston, presented Cronkite with the Ambassador of Exploration Award. Cronkite was the first non-astronaut thus honored.
NASA presented Cronkite with a Moon rock sample from the early Apollo expeditions spanning 1969 to 1972. Cronkite passed on the Moon rock to Bill Powers, president of the University of Texas at Austin, and it became part of the collection at the Dolph Briscoe Center for American History. Carleton said at this occasion, "We are deeply honored by Walter Cronkite's decision to entrust this prestigious award to the Center for American History. The Center already serves as the proud steward of his professional and personal papers, which include his coverage of the space program for CBS News. It is especially fitting that the archive documenting Walter's distinguished career should also include one of the moon rocks that the heroic astronauts of the Apollo program brought to Earth."
Memorial at Missouri Western State University
On November 4, 2013, Missouri Western State University in St. Joseph, Missouri, dedicated the Walter Cronkite Memorial. The nearly 6,000 square-foot memorial includes images, videos and memorabilia from Cronkite's life and the many events he covered as a journalist. The memorial includes a replica of the newsroom from which Cronkite broadcast the news during the 1960s and 1970s. In 2014, the Memorial received the Missouri Division of Tourism's Spotlight Award.
Books
The Challenges of Change (1971). Washington: Public Affairs Press. .
Eye on the World (1971). New York: Cowles Book Co. .
A Reporter's Life (1996). New York: Alfred A. Knopf. .
See also
New Yorkers in journalism
Walter Cronkite School of Journalism and Mass Communication
References
Further reading
Menand, Louis, "Seeing It Now: Walter Cronkite and the legend of CBS News", The New Yorker, July 9, 2012
External links
"Walter Cronkite, 92, Dies; Trusted Voice of TV News", The New York Times (July 17, 2009)
The Walter Cronkite Papers at the University of Texas at Austin
FBI Records: The Vault - Walter Leland Cronkite at vault.fbi.gov
1916 births
2009 deaths
20th-century American journalists
American male journalists
60 Minutes correspondents
Amateur radio people
American broadcast news analysts
American game show hosts
American television news anchors
American television reporters and correspondents
CBS News people
Drug policy reform activists
Fellows of the American Academy of Arts and Sciences
Journalists from Houston
Oklahoma Sooners football announcers
Peabody Award winners
People from St. Joseph, Missouri
Presidential Medal of Freedom recipients
San Jacinto High School alumni
Space advocates
Moody College of Communication alumni
American war correspondents of the Vietnam War
American war correspondents of World War II
20th-century American Episcopalians
Recipients of Ischia International Journalism Award
Members of the American Philosophical Society
United States Coast Guard Auxiliary officers
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"Ernst Hofbauer (22 August 1925 in Vienna, Austria – 24 February 1984 in Munich, West Germany) was an Austrian film director.\n\nBiography\nHofbauer began his career as an assistant director in 1950 with Der keusche Adam. His first film as a director was a sequence of the Austrian anthology film Auch Männer sind keine Engel ( Wiener Luft, 1959).\n\nHofbauer's next film was a Krimi film Case 33: Antwerp in 1964 that he also wrote. He worked steadily in a variety of popular genres of the international co-productions of the time, musicals with Vivi Bach such as Holiday in St. Tropez (1964) and Tausend Takte Übermut (1965), a Sauerkraut Western Black Eagle of Santa Fe (1965), a Eurospy film Red Dragon (1965), then moving to adult films with The Fountain of Love and Black Market of Love both in 1966; the latter with a screenplay by Hofbauer, followed by Hot Pavements of Cologne (1967) and The Young Tigers of Hong Kong (1969).\n\nDuring the early 1970s, in Munich, Hofbauer teamed with Walter Boos, Wolf C. Hartwig and Ludwig Spitaler to produce the original thirteen films under the banner Schulmadchen Report (or Schoolgirl Report); the stories were adapted from books written by Günther Hunold, while Günther Heller composed the film script, Klaus Werner did the camera work, and the music was handled by Gert Wilden & Orchestra. Hofbauer and Boos were referred to as the 'Titans of Teen Libido'. The films were classified as 'sexploitation', and were extremely popular, seen by more than 30 million people all over the world.\n\nIn the United States, the films were released in grindhouses and drive-ins, and the names of the films were changed to conform to American standards. Because the films focused on young girls who may have been under legal age in this country, the Schoolgirl Report series was eventually suppressed.\n\nFilms\nA chronological list of the original 13 Schoolgirl Report films follows:\n\nSchulmadchen Report I: What Parents Don't Think is Possible, a.k.a. Schoolgirl Report Part I (1970)\nSchulmadchen Report II: What Keeps Parents Awake at Night, a.k.a. Schoolgirl Report Part II (1971)\nSchulmadchen Report III: What Parents Find Unthinkable, a.k.a. Schoolgirls Growing Up (1972)\nSchulmadchen Report IV: What Drives Parents to Despair, a.k.a. Campus Swingers (1972)\nSchulmadchen Report V: What All Parents Should Know (1973)\nSchulmadchen Report VI: Erotic Young Lovers, a.k.a. Campus Pussycats (1973)\nSchulmadchen Report VII: But Heart Needs to Be There, a.k.a. Teenage Playmates (1974) \nSchulmadchen Report VIII: What Parents Should Never Get to Know, a.k.a. Naughty Coeds (1974)\nSchulmadchen Report IX: Examination Before the Matriculation (1975, dir. Walter Boos)\nSchulmadchen Report X: Every Girl Starts Sometime, a.k.a. Sexy Schoolwork (1976, dir. Walter Boos)\nSchulmadchen Report XI: Trying Beats Studying, a.k.a. Blue Dreams, a.k.a. Confessions of a Naked Virgin (1977)\nSchulmadchen Report XII: Young Girls Need Love, a.k.a. Blue Fantasies (1978, dir. Walter Boos)\nSchulmadchen Report XIII: Don't Forget The Love When Having Sex (1980, dir. Walter Boos)\n\nIn addition to the original Schulmadchen Report films, Ernst Hofbauer directed several other erotic movies featuring adult as well as young actresses. A partial list of these films is shown below:\nProstitution heute (1970)\nThe Teeny Boppers, a.k.a. Girls at the Gynecologist (Mädchen beim Frauenarzt, 1971)\nSex in the Office, a.k.a. Office Girls (Erotik im Beruf – Was jeder Personalchef gern verschweigt, 1971)\nSwinging Wives (Der neue heiße Sex-Report – Was Männer nicht für möglich halten, 1971)\nHoliday Report (Urlaubsreport – Worüber Reiseleiter nicht sprechen dürfen, 1971)\nThe Disciplined Woman (Die dressierte Frau, 1972)\nLehrmädchen-Report (1972)\nHousewives on the Job (Hausfrauen-Report international, 1973)\nSecrets of Sweet Sixteen (Was Schulmädchen verschweigen, 1973)\n14 and Under (Frühreifen-Report, 1973)\nBedtime Stories for Grownups (Wenn die prallen Möpse hüpfen, 1974)\nVirgins of the Seven Seas (1974; a.k.a. U.S. title \"The Bod Squad\") for the Shaw Brothers (HK) Ltd.\nRasputin (1984)\n\nWalter Boos, Wolf C. Hartwig, and Ludwig Spitaler teamed with Ernst Hofbauer in the production of the Schoolgirl Report films. After Hofbauer finished directing the series, Boos and Hartwig continued directing subsequent films in the genre. The following films were produced and directed after Hofbauer turned over the reins to his co-workers:\nShould a Schoolgirl Tell (Josefine, das liebestolle Kätzchen, 1969, dir. Géza von Cziffra)\nHousewife Report (Hausfrauen-Report, 1971, dir. Eberhard Schröder)\nMost Girls Will (Hausfrauen-Report 2, 1971, dir. Eberhard Schröder)\nThe Sensuous Housewife (Hausfrauen-Report 3, 1972, dir. Eberhard Schröder)\nSwinging Coeds (Mädchen, die nach München kommen, 1972, dir. Walter Boos)\nThe Intimate Teenagers (Schlüsselloch-Report, 1973, dir. Walter Boos)\nWide Open Marriage (Hausfrauen-Report 4, 1973, dir. Eberhard Schröder, Quirin Steinar)\nTrain Station Pickups (Die Schulmädchen vom Treffpunkt Zoo, 1979, dir. Walter Boos)\n\nExternal links\n \n\nAustrian film directors\nFilm people from Vienna\n1925 births\n1984 deaths",
"National Report is a fake news website that posts fictional articles related to world events. It is described by Snopes.com as a fake news site, by FactCheck.org as a satirical site, and by The Washington Post as part of a fake-news industry, making profits from \"duping gullible Internet users with deceptively newsy headlines.\" The National Report describes itself as a \"news and political satire web publication\" and provides a disclaimer that \"all news articles contained within National Report are fiction\". The disclaimer, however, is not printed on the main page, which instead claims that the website is \"America's #1 Independent News Source\".\n\nStories from the National Report have been taken seriously by third parties such as Fox News Channel, including the false report that the town of Purdon, Texas, has been quarantined after an outbreak. The story led to a traffic spike of two million unique visitors, and although the story was debunked by other websites, the original National Report story received six times as many \"shares\" on social media sites as the debunking stories did.\n\nHistory\nIn February 2013, National Report was registered as a site. Paul Horner was the publication's lead writer; his employment began shortly after National Report went online. He said that he left National Report in 2014. Jestin Coler has written for the site under the pseudonym \"Allen Montgomery\".\n\nIn 2014, a Facebook interface experiment included the site on a list of those whose stories were flagged as \"satire\" when appearing on the social network. Writing at the time, Craig Silverman of emergent.info saw National Report as one of several websites that were \"not driven by trying to do comedy or satire, but by what kind of fake stuff can we spin up to get shares that earn us money\", with particularly widely spread hoax stories capable of earning thousands of dollars per day from on-site advertising.\n\nDisclaimer\nThe National Report carries a disclaimer identifying its content as satire and fake news, but no prominent link to this page was seen until late December 2014. Numerous articles referring to National Report stories stated that National Report's disclaimer had been removed.\n\nMisinterpretations\nSeveral hoax National Report stories have been mistakenly reported as fact by media outlets.\n\nOne report stated that Arizona governor Jan Brewer intended to introduce mandatory gay-to-straight conversion courses into the state's public school system. A spokesman for the governor called the fake article \"vile\" and said, \"its authors should be ashamed\". Brewer has been a target of gay-rights activists because of her efforts to strip same-sex partners of government benefits, and for her stance on making adopting children harder for gay couples.\n\nOne article, at the time of the closure of some US monuments, including the World War II memorial in Washington, DC, during a budget dispute, fooled researchers at Fox News Channel into reporting that the then President Obama had announced his intention to spend his own money to keep a Muslim museum open during a government shutdown.\n\nA report published on November 2, 2013, claiming a fictitious Assam Rape Festival created a furor in Indian national and local media. Several newspapers and blogs reported the same. A police probe in India showed the story originated from Uganda.\n\nSee also\nList of fake news websites\n\nReferences\n\nExternal links\n \n\nInternet hoaxes\nJournalistic hoaxes\nFake news websites"
] |
[
"Walter Cronkite",
"Anchor of the CBS Evening News",
"When did Walter join CBS Evening news?",
"but later the CBS Evening News on September 2, 1963,",
"for how long was he the anchor of CBS evening News?",
"Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.",
"What kind of stories did Walter report?",
"A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963."
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What was he known as during his time at CBS?
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What was Walter Cronkite known for during his time at CBS?
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Walter Cronkite
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On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news. During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored the Huntley-Brinkley Report. For much of the 1960s, the Huntley-Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley-Brinkley Report in viewership during the summer months. In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981. One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981. CANNOTANSWER
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Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings
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Walter Leland Cronkite Jr. (November 4, 1916 – July 17, 2009) was an American broadcast journalist who served as anchorman for the CBS Evening News for 19 years (1962–1981). During the 1960s and 1970s, he was often cited as "the most trusted man in America" after being so named in an opinion poll. Cronkite reported many events from 1937 to 1981, including bombings in World War II; the Nuremberg trials; combat in the Vietnam War; the Dawson's Field hijackings; Watergate; the Iran Hostage Crisis; and the assassinations of President John F. Kennedy, civil rights pioneer Martin Luther King Jr., and Beatles musician John Lennon. He was also known for his extensive coverage of the U.S. space program, from Project Mercury to the Moon landings to the Space Shuttle. He was the only non-NASA recipient of an Ambassador of Exploration award. Cronkite is known for his departing catchphrase, "And that's the way it is", followed by the date of the broadcast.
Early life and education
Cronkite was born on November 4, 1916, in Saint Joseph, Missouri, the son of Helen Lena (née Fritsche) and Dr. Walter Leland Cronkite, a dentist.
Cronkite lived in Kansas City, Missouri, until he was ten, when his family moved to Houston, Texas. He attended elementary school at Woodrow Wilson Elementary School (now Baker Montessori School), junior high school at Lanier Junior High School (now Lanier Middle School) in Houston, and high school at San Jacinto High School, where he edited the high school newspaper. He was a member of the Boy Scouts. He attended college at the University of Texas at Austin (UT), entering in the Fall term of 1933, where he worked on the Daily Texan and became a member of the Nu chapter of the Chi Phi Fraternity. He also was a member of the Houston chapter of DeMolay, a Masonic fraternal organization for boys. While attending UT, Cronkite had his first taste of performance, appearing in a play with fellow student Eli Wallach. He dropped out in 1935, not returning for the Fall term, in order to concentrate on journalism.
Career
He dropped out of college in his junior year, in the fall term of 1935, after starting a series of newspaper reporting jobs covering news and sports. He entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma. In 1936, he met his future wife, Mary Elizabeth "Betsy" Maxwell, while working as the sports announcer for KCMO (AM) in Kansas City, Missouri. His broadcast name was "Walter Wilcox". He would explain later that radio stations at the time did not want people to use their real names for fear of taking their listeners with them if they left. In Kansas City, he joined the United Press International in 1937.
With his name now established, he received a job offer from Edward R. Murrow at CBS News to join the Murrow Boys team of war correspondents, relieving Bill Downs as the head of the Moscow bureau. CBS offered Cronkite $125 ($2,235 in 2020 money) a week along with "commercial fees" amounting to $25 ($447 in 2020) for almost every time Cronkite reported on air. Up to that point, he had been making $57.50 ($1,027 in 2020) per week at UP, but he had reservations about broadcasting. He initially accepted the offer. When he informed his boss Harrison Salisbury, UP countered with a raise of $17.50 ($312 in 2020) per week; Hugh Baillie also offered him an extra $20 ($357 in 2020) per week to stay. Cronkite ultimately accepted the UP offer, a move which angered Murrow and drove a wedge between them that would last for years.
Cronkite became one of the top American reporters in World War II, covering battles in North Africa and Europe. He was on board starting in Norfolk, Virginia, through her service off the coast of North Africa as part of Operation Torch, and thence back to the US. On the return trip, Cronkite was flown off Texas in one of her Vought OS2U Kingfisher aircraft when Norfolk was within flying distance. He was granted permission to be flown the rest of the distance to Norfolk so that he could outpace a rival correspondent on to return to the US and to issue the first uncensored news reports to be published about Operation Torch. Cronkite's experiences aboard Texas launched his career as a war correspondent. Subsequently, he was one of eight journalists selected by the United States Army Air Forces to fly bombing raids over Germany in a Boeing B-17 Flying Fortress part of group called The Writing 69th, and during a mission fired a machine gun at a German fighter. He also landed in a glider with the 101st Airborne Division in Operation Market Garden and covered the Battle of the Bulge. After the war, he covered the Nuremberg trials and served as the United Press main reporter in Moscow from 1946 to 1948.
Early years at CBS
In 1950, Cronkite joined CBS News in its young and growing television division, again recruited by Murrow. Cronkite began working at WTOP-TV (now WUSA), the CBS affiliate in Washington, D.C.. He originally served as anchor of the network's 15-minute late-Sunday-evening newscast Up To the Minute, which followed What's My Line? at 11:00 pm ET from 1951 through 1962.
Although it was widely reported that the term "anchor" was coined to describe Cronkite's role at both the Democratic and Republican National Conventions, marking the first nationally televised convention coverage, other news presenters bore the title before him. Cronkite anchored the network's coverage of the 1952 presidential election as well as later conventions. In 1964 he was temporarily replaced by the team of Robert Trout and Roger Mudd; this proved to be a mistake, and Cronkite returned to the anchor chair for future political conventions.
From 1953 to 1957, Cronkite hosted the CBS program You Are There, which reenacted historical events, using the format of a news report. His famous last line for these programs was: "What sort of day was it? A day like all days, filled with those events that alter and illuminate our times ... and you were there." In 1971, the show was revived and redesigned to attract an audience of teenagers and young adults, hosted again by Cronkite on Saturday mornings. In 1957, he began hosting The Twentieth Century (eventually renamed The 20th Century), a documentary series about important historical events of the century composed almost exclusively of newsreel footage and interviews. A long-running hit, the show was again renamed as The 21st Century in 1967 with Cronkite hosting speculative reporting on the future for another three years. Cronkite also hosted It's News to Me, a game show based on news events.
During the presidential elections of 1952 and 1956 Cronkite hosted the CBS news-discussion series Pick the Winner.
Another of his network assignments was The Morning Show, CBS' short-lived challenge to NBC's Today in 1954. His on-air duties included interviewing guests and chatting with a lion puppet named Charlemane about the news. He considered this discourse with a puppet as "one of the highlights" of the show. He added, "A puppet can render opinions on people and things that a human commentator would not feel free to utter. I was and I am proud of it." Cronkite also angered the R. J. Reynolds Tobacco Company, the show's sponsor, by grammatically correcting its advertising slogan. Instead of saying "Winston tastes good like a cigarette should" verbatim, he substituted "as" for "like."
He was the lead broadcaster of the network's coverage of the 1960 Winter Olympics, the first-ever time such an event was televised in the United States. He replaced Jim McKay, who had suffered a mental breakdown.
Anchor of the CBS Evening News
On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.
During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored The Huntley–Brinkley Report. For much of the 1960s, The Huntley–Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley–Brinkley Report in viewership during the summer months.
In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 Moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981.
One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981.
Historic moments
Kennedy's assassination
Cronkite is vividly remembered for breaking the news of the assassination of John F. Kennedy on Friday, November 22, 1963. Cronkite had been standing at the United Press International wire machine in the CBS newsroom as the bulletin of the President's shooting broke and he clamored to get on the air to break the news as he wanted CBS to be the first network to do so.
There was a problem facing the crew in the newsroom, however. There was no television camera in the studio at the time as the technical crew was working on it. Eventually, the camera was retrieved and brought back to the newsroom. Because of the magnitude of the story and the continuous flow of information coming from various sources, time was of the essence but the camera would take at least twenty minutes to become operational under normal circumstances. The decision was made to dispatch Cronkite to the CBS Radio Network booth to report the events and play the audio over the television airwaves while the crew worked on the camera to see if they could get it set up quicker.
Meanwhile, CBS was ten minutes into its live broadcast of the soap opera As the World Turns (ATWT), which had begun at the very minute of the shooting. A "CBS News Bulletin" bumper slide abruptly broke into the broadcast at 1:40 pm EST. Over the slide, Cronkite began reading what would be the first of three audio-only bulletins that were filed in the next twenty minutes:
While Cronkite was reading this bulletin, a second one arrived, mentioning the severity of Kennedy's wounds:
Just before the bulletin cut out, a CBS News staffer was heard saying "Connally too," apparently having just heard the news that Texas Governor John Connally had also been shot while riding in the presidential limousine with his wife Nellie and Mr. and Mrs. Kennedy.
CBS then rejoined the telecast of ATWT during a commercial break, which was followed by show announcer Dan McCullough's usual fee plug for the first half of the program and the network's 1:45 pm station identification break. Just before the second half of ATWT was to begin, the network broke in with the bumper slide a second time. In this bulletin Cronkite reported in greater detail about the assassination attempt on the President, while also breaking the news of Governor Connally's shooting.
Cronkite then recapped the events as they had happened: that the President and Governor Connally had been shot and were in the emergency room at Parkland Hospital, and no one knew their condition as yet. CBS then decided to return to ATWT, which was now midway through its second segment.
The cast had continued to perform live while Cronkite's bulletins broke into the broadcast, unaware of the unfolding events in Dallas. ATWT then took another scheduled commercial break. The segment before the break would be the last anyone would see of any network's programming until Tuesday, November 26. During the commercial, the bumper slide interrupted the proceedings again and Cronkite updated the viewers on the situation in Dallas. This bulletin went into more detail than the other two, revealing that Kennedy had been shot in the head, Connally in the chest. Cronkite remained on the air for the next ten minutes, continuing to read bulletins as they were handed to him, and recapping the events as they were known. He also related a report given to reporters by Texas Congressman Albert Thomas that the President and Governor were still alive, the first indication of their condition. At 2:00 pm EST, with the top of the hour station break looming, Cronkite told the audience that there would be a brief pause so that all of CBS' affiliates, including those in the Mountain and Pacific time zones which were not on the same schedule, could join the network. He then left the radio booth and went to the anchor desk in the newsroom.
Within twenty seconds of the announcement, every CBS affiliate except Dallas' KRLD (which was providing local coverage) was airing the network's feed. The camera was finally operational by this time and enabled the audience to see Cronkite, who was clad in shirt and tie but without his suit coat, given the urgent nature of the story. Cronkite reminded the audience, again, of the attempt made on the life of the President and tossed to KRLD news director Eddie Barker at the Dallas Trade Mart, where Kennedy was supposed to be making a speech before he was shot. Barker relayed information that Kennedy's condition was extremely critical. Then, after a prayer for Kennedy, Barker quoted an unofficial report that the President was dead but stressed it was not confirmed.
After several minutes, the coverage came back to the CBS newsroom where Cronkite reported that the President had been given blood transfusions and two priests had been called into the room. He also played an audio report from KRLD that someone had been arrested in the assassination attempt at the Texas School Book Depository. Back in Dallas Barker announced another report of the death of the President, mentioning that it came from a reliable source. Before the network left KRLD's feed for good, Barker first announced, then retracted, a confirmation of Kennedy's death.
CBS cut back to Cronkite reporting that one of the priests had administered last rites to the president. In the next few minutes, several more bulletins reporting that Kennedy had died were given to Cronkite, including one from CBS's own correspondent Dan Rather that had been reported as confirmation of Kennedy's demise by CBS Radio. As these bulletins came into the newsroom, it was becoming clearer that Kennedy had in fact lost his life. Cronkite, however, stressed that these bulletins were simply reports and not any official confirmation of the President's condition; some of his colleagues recounted in 2013 that his early career as a wire service reporter taught him to wait for official word before reporting a story. Still, as more word came in, Cronkite seemed to be resigned to the fact that it was only a matter of time before the assassination was confirmed. He appeared to concede this when, several minutes after he received the Rather report, he received word that the two priests who gave the last rites to Kennedy told reporters on the scene that he was dead. Cronkite said that report "seems to be as close to official as we can get", but would not declare it as such. Nor did he do so with a report from Washington, DC that came moments later, which said that government sources were now reporting the President was dead (this information was passed on to ABC as well, which took it as official confirmation and reported it as such; NBC did not report this information at all and chose instead to rely on reports from Charles Murphy and Robert MacNeil to confirm their suspicions).
At 2:38 pm EST, while filling in time with some observations about the security presence in Dallas, which had been increased due to violent acts against United Nations Ambassador Adlai Stevenson in the city earlier that year, Cronkite was handed a new bulletin. After looking it over for a moment, he took off his glasses, and made the official announcement:
After making that announcement, Cronkite paused briefly, put his glasses back on, and swallowed hard to maintain his composure. With noticeable emotion in his voice he intoned the next sentence of the news report:
With emotion still in his voice and eyes watering, Cronkite once again recapped the events after collecting himself, incorporating some wire photos of the visit and explaining the significance of the pictures now that Kennedy was dead. He reminded the viewers that Vice President Johnson was now the President and was to be sworn in, that Governor Connally's condition was still unknown, and that there was no report of whether the assassin had been captured. He then handed the anchor position to Charles Collingwood, who had just entered the newsroom, took his suit coat, and left the room for a while.
At about 3:30 pm EST, Cronkite came back into the newsroom to relay some new information. The two major pieces of information involved the Oath of Office being administered to now-President Johnson, which officially made him the thirty-sixth President, and that Dallas police had arrested a man named Lee Harvey Oswald whom they suspected had fired the fatal shots. After that, Cronkite left again to begin preparing for that night's CBS Evening News, which he returned to anchor as normal. For the next four days, along with his colleagues, Cronkite continued to report segments of uninterrupted coverage of the assassination, including the announcement of Oswald's death in the hands of Jack Ruby on Sunday. The next day, on the day of the funeral, Cronkite concluded CBS Evening News with the following assessment about the events of the last four dark days:
Referring to his coverage of Kennedy's assassination, in a 2006 TV interview with Nick Clooney, Cronkite recalled,
In a 2003 CBS special commemorating the 40th anniversary of the assassination, Cronkite recalled his reaction upon having the death confirmed to him, he said,
According to historian Douglas Brinkley, Cronkite provided a sense of perspective throughout the unfolding sequence of disturbing events.
Vietnam War
In mid-February 1968, on the urging of his executive producer Ernest Leiser, Cronkite and Leiser journeyed to Vietnam to cover the aftermath of the Tet Offensive. They were invited to dine with General Creighton Abrams, the commander of all forces in Vietnam, whom Cronkite knew from World War II. According to Leiser, Abrams told Cronkite, "we cannot win this Goddamned war, and we ought to find a dignified way out."
Upon return, Cronkite and Leiser wrote separate editorial reports based on that trip. Cronkite, an excellent writer, preferred Leiser's text over his own. On February 27, 1968, Cronkite closed "Report from Vietnam: Who, What, When, Where, Why?" with that editorial report:
Following Cronkite's editorial report, President Lyndon B. Johnson is claimed by some to have said, "If I've lost Cronkite, I've lost Middle America." However, this account of Johnson has been questioned by other observers in books on journalistic accuracy. At the time the editorial aired, Johnson was in Austin, Texas, attending Texas Governor John Connally's birthday gala and was giving a speech in his honor.
In his book This Just In: What I Couldn't Tell You on TV, CBS News correspondent Bob Schieffer, who was serving as a reporter for the Fort Worth Star-Telegram when Cronkite's editorial aired, acknowledged that Johnson did not see the original broadcast but also defended the allegation that Johnson had made the remark. According to Schieffer, Johnson's aide George Christian "told me that the President apparently saw some clips of it the next day" and that "That's when he made the remark about Cronkite. But he knew then that it would take more than Americans were willing to give it." When asked about the remark during a 1979 interview, Christian claimed he had no recollection about what the President had said. In his 1996 memoir A Reporter's Life, Cronkite claimed he was at first unsure about how much of an impact his editorial report had on Johnson's decision to drop his bid for re-election, and what eventually convinced him the President had made the statement was a recount from Bill Moyers, a journalist and former aide to Johnson.
Several weeks later, Johnson, who sought to preserve his legacy and was now convinced his declining health could not withstand growing public criticism, announced he would not seek reelection.
During the 1968 Democratic National Convention in Chicago, Cronkite was anchoring the CBS network coverage as violence and protests occurred outside the convention, as well as scuffles inside the convention hall. When Dan Rather was punched to the floor (on camera) by security personnel, Cronkite commented, "I think we've got a bunch of thugs here, Dan."
Other historic events
The first publicly transmitted live trans-Atlantic program was broadcast via the Telstar satellite on July 23, 1962, at 3:00 pm EDT, and Cronkite was one of the main presenters in this multinational broadcast. The broadcast was made possible in Europe by Eurovision and in North America by NBC, CBS, ABC, and the CBC. The first public broadcast featured CBS's Cronkite and NBC's Chet Huntley in New York, and the BBC's Richard Dimbleby in Brussels. Cronkite was in the New York studio at Rockefeller Plaza as the first pictures to be transmitted and received were the Statue of Liberty in New York and the Eiffel Tower in Paris. The first segment included a televised major league baseball game between the Philadelphia Phillies and the Chicago Cubs at Wrigley Field. From there, the video switched first to Washington, D.C.; then to Cape Canaveral, Florida; then to Quebec City, Quebec, and finally to Stratford, Ontario. The Washington segment included a press conference with President Kennedy, talking about the price of the American dollar, which was causing concern in Europe. This broadcast inaugurated live intercontinental news coverage, which was perfected later in the sixties with Early Bird and other Intelsat satellites.
General of the Army Dwight D. Eisenhower returned to his former Supreme Headquarters Allied Expeditionary Force (SHAEF) headquarters for an interview by Cronkite on the CBS News Special Report D-Day + 20, telecast on June 6, 1964.
Cronkite is also remembered for his coverage of the United States space program, and at times was visibly enthusiastic, rubbing his hands together on camera with a smile and uttering, "Whew...boy" on July 20, 1969, when the Apollo 11 lunar landing mission put the first men on the Moon.
Cronkite participated in Richard Nixon's 1972 visit to China. Because Cronkite was colorblind, he had to ask others what color of coat First Lady Pat Nixon was wearing when they disembarked in Peking (Beijing).
According to the 2006 PBS documentary on Cronkite, there was "nothing new" in his reports on the Watergate affair; however, Cronkite brought together a wide range of reporting, and his credibility and status is credited by many with pushing the Watergate story to the forefront with the American public, ultimately resulting in the resignation of President Richard M. Nixon on August 9, 1974. Cronkite had anchored the CBS coverage of Nixon's address, announcing his impending resignation, the night before.
The January 22, 1973, broadcast of the CBS Evening News saw Cronkite break the news of the death of another notable American political figure: former president Lyndon B. Johnson. At approximately 6:38 pm Eastern Time, while a pre-recorded report that the Vietnam peace talks in Paris had been successful was being played for the audience, Cronkite received a telephone call in the studio while off camera. The call was from Tom Johnson, the former press secretary for President Johnson who was at the time serving the former chief executive as station manager at KTBC-TV in Austin, Texas, which was affiliated with CBS at the time and was owned by the Johnson family. During the conversation the production staff cut away from the report back to the live camera in studio as Cronkite was still on the phone. After he was made aware that he was back on camera, Cronkite held up a finger to let everyone watching know he required a moment to let Johnson finish talking. Once Cronkite got what he needed, he thanked Johnson and asked him to stay on the line. He then turned to the camera and began to relay what Johnson had said to him.
During the final ten minutes of that broadcast, Cronkite reported on the death, giving a retrospective on the life of the nation's 36th president, and announced that CBS would air a special on Johnson later that evening. This story was re-told on a 2007 CBS-TV special honoring Cronkite's 90th birthday.
NBC-TV's Garrick Utley, anchoring NBC Nightly News that evening, also interrupted his newscast in order to break the story, doing so about three minutes after Cronkite on CBS. The news was not reported on that night's ABC Evening News, which was anchored by Howard K. Smith and Harry Reasoner, because ABC at the time fed their newscast live at 6:00 pm Eastern instead of 6:30 to get a head start on CBS and NBC for those stations that aired ABC Evening News live (although not every affiliate did).
On November 22, 1963, Cronkite introduced The Beatles to the United States by airing a four-minute story about the band on CBS Morning News. The story was scheduled to be shown again on the CBS Evening News that same day, but the assassination of John F. Kennedy prevented the broadcast of the regular evening news. The Beatles story was aired on the evening news program on December 10.
Retirement
On February 14, 1980, Cronkite announced that he intended to retire from the CBS Evening News; at the time, CBS had a policy of mandatory retirement by age 65. Although sometimes compared to a father figure or an uncle figure, in an interview about his retirement he described himself as being more like a "comfortable old shoe" to his audience. His last day in the anchor chair at the CBS Evening News was on March 6, 1981; he was succeeded the following Monday by Dan Rather.
Cronkite's farewell statement:
On the eve of Cronkite's retirement, he appeared on The Tonight Show hosted by Johnny Carson. The following night, Carson did a comic spoof of his on-air farewell address.
Other activities
Post-CBS Evening News
As he had promised on his last show as anchor in 1981, Cronkite continued to broadcast occasionally as a special correspondent for CBS, CNN, and NPR into the 21st century; one such occasion was Cronkite anchoring the second space flight by John Glenn in 1998 as he had Glenn's first in 1962. Cronkite hosted Universe until its cancellation in 1982. In 1983, he reported on the British general election for the ITV current affairs series World In Action, interviewing, among many others, the victorious Prime Minister, Margaret Thatcher. Cronkite hosted the annual Vienna New Year's Concert on PBS from 1985 to 2008, succeeded by Julie Andrews in 2009. For many years, until 2002, he was also the host of the annual Kennedy Center Honors.
In 1998, Cronkite hosted the 90-minute documentary, Silicon Valley: A 100 Year Renaissance, produced by the Santa Clara Valley Historical Association. The film documented Silicon Valley's rise from the origin of Stanford University to the current high-technology powerhouse. The documentary was broadcast on PBS throughout the United States and in 26 countries. Prior to 2004, he could also be seen in the opening movie "Back to Neverland" shown in the Walt Disney World attraction The Magic of Disney Animation, interviewing Robin Williams as if he is still on the CBS News channel, ending his on-camera time with Cronkite's famous catchphrase. In the feature, Cronkite describes the steps taken in the creation of an animated film, while Williams becomes an animated character (and even becomes Cronkite, impersonating his voice). He also was shown inviting Disney guests and tourists to the Disney Classics Theater.
On May 21, 1999, Cronkite participated in a panel discussion on "Integrity in the Media" with Ben Bradlee and Mike McCurry at the Connecticut Forum in Hartford, Connecticut. Cronkite provided an anecdote about taking a picture from a house in Houston, Texas, where a newsworthy event occurred and being praised for getting a unique photograph, only to find out later that the city desk had provided him with the wrong address.
Voice-overs
Cronkite narrated the IMAX film about the Space Shuttle, The Dream is Alive, released in 1985. From May 26, 1986, to August 15, 1994, he was the narrator's voice in the EPCOT Center attraction Spaceship Earth, at Walt Disney World in Orlando, Florida. He provided the pivotal voice of Captain Neweyes in the 1993 animated film We're Back: A Dinosaur's Story, delivering his trademark line at the end. In 1995, he made an appearance on Broadway, providing the voice of the titular book in the 1995 revival of How to Succeed in Business Without Really Trying.
Cronkite was a finalist for NASA's Journalist in Space program, which mirrored the Teacher in Space Project, an opportunity that was suspended after the Challenger disaster in 1986. He recorded voice-overs for the 1995 film Apollo 13, modifying the script he was given to make it more "Cronkitian." In 2002, Cronkite was the voice of Benjamin Franklin in the educational television cartoon Liberty's Kids, which included a news segment ending with the same phrase he did back on the CBS Evening News. This role earned him Daytime Emmy nominations for Outstanding Performer in a Children's Series, in 2003 and 2004, but he did not win. His distinctive voice provided the narration for the television ads of the University of Texas, Austin, his alma mater, with its 'We're Texas' ad campaign.
He held amateur radio operator license KB2GSD and narrated a 2003 American Radio Relay League documentary explaining amateur radio's role in disaster relief. The video tells Amateur Radio's public service story to non-hams, focusing on ham radio's part in helping various agencies respond to wildfires in the Western US during 2002, ham radio in space and the role Amateur Radio plays in emergency communications. "Dozens of radio amateurs helped the police and fire departments and other emergency services maintain communications in New York, Pennsylvania and Washington, DC," narrator Cronkite intoned in reference to ham radio's response to the terrorist attacks on September 11, 2001. Unusually, Cronkite was a Novice-class licensee—the entry level license—for his entire, and long, tenure in the hobby.
On February 15, 2005, he went into the studio at CBS to record narration for WCC Chatham Radio, a documentary about Guglielmo Marconi and his Chatham station, which became the busiest ship-to-shore wireless station in North America from 1914 to 1994. The documentary was directed by Christopher Seufert of Mooncusser Films and premiered at the Chatham Marconi Maritime Center in April 2005. In 2006, Cronkite hosted the World War One Living History Project, a program honoring America's final handful of veterans from the First World War. The program was created by Treehouse Productions and aired on NPR on November 11, 2006. In May 2009, Legacy of War, produced by PBS, was released. Cronkite chronicles, over archive footage, the events following World War II that resulted in America's rise as the dominant world power.
Prior to his death, "Uncle Walter" hosted a number of TV specials and was featured in interviews about the times and events that occurred during his career as America's "most trusted" man. In July 2006, the 90-minute documentary Walter Cronkite: Witness to History aired on PBS. The special was narrated by Katie Couric, who assumed the CBS Evening News anchor chair in September 2006. Cronkite provided the voiceover introduction to Couric's CBS Evening News, which began on September 5, 2006. Cronkite's voiceover was notably not used on introducing the broadcast reporting his funeral – no voiceover was used on this occasion.
TV and movie appearances
Cronkite made a cameo appearance on a 1974 episode of The Mary Tyler Moore Show, in which he met with Lou Grant in his office. Ted Baxter, who at first tried to convince Cronkite that he (Baxter) was as good a newsman as Eric Sevareid, pleaded with Cronkite to hire him for the network news, at least to give sport scores, and gave an example: "The North Stars 3, the Kings Oh!" Cronkite turned to Grant and said, "I'm gonna get you for this!" Cronkite later said that he was disappointed that his scene was filmed in one take, since he had hoped to sit down and chat with the cast.
In the late 1980s and again in the 1990s, Cronkite appeared on the news-oriented situation comedy Murphy Brown as himself. Both episodes were written by the Emmy Award-winning team of Tom Seeley and Norm Gunzenhauser. He also continued hosting a variety of series. In the early 1980s, he was host of the documentary series World War II with Walter Cronkite. In 1991, he hosted the TV documentary Dinosaur! on A&E (not related to the documentary of the same title hosted by Christopher Reeve on CBS six years earlier), and a 1994 follow-up series, Ape Man: The Story of Human Evolution. In 1995, he narrated the World Liberty Concert held in the Netherlands.
Cronkite routinely hosted the Kennedy Center Honors from 1981 to 2002.
Cronkite appeared briefly in the 2005 dramatic documentary The American Ruling Class written by Lewis Lapham; the 2000 film Thirteen Days reporting on the Cuban Missile Crisis; and provided the opening synopsis of the American Space Program leading to the events in Apollo 13 for the 1995 Ron Howard film of the same name.
Political activism
Cronkite wrote a syndicated opinion column for King Features Syndicate. In 2005 and 2006, he contributed to The Huffington Post. Cronkite was the honorary chairman of The Interfaith Alliance. In 2006, he presented the Walter Cronkite Faith and Freedom Award to actor and activist George Clooney on behalf of his organization at its annual dinner in New York.
Cronkite was a vocal advocate for free airtime for political candidates. He worked with the Alliance for Better Campaigns and Common Cause, for instance, on an unsuccessful lobbying effort to have an amendment added to the McCain-Feingold-Shays-Meehan Campaign Finance Reform Act of 2001 that would have required TV broadcast companies to provide free airtime to candidates. Cronkite criticized the present system of campaign finance which allows elections to "be purchased" by special interests, and he noted that all the European democracies "provide their candidates with extensive free airtime." "In fact," Cronkite pointed out, "of all the major nations worldwide that profess to have democracies, only seven – just seven – do not offer free airtime" This put the United States on a list with Ecuador, Honduras, Malaysia, Taiwan, Tanzania, and Trinidad and Tobago. Cronkite concluded that "The failure to give free airtime for our political campaigns endangers our democracy." During the elections held in 2000, the amount spent by candidates in the major TV markets approached $1 billion. "What our campaign asks is that the television industry yield just a tiny percentage of that windfall, less than 1 percent, to fund free airtime."
He was a member of the Constitution Project's bipartisan Liberty and Security Committee. He also supported the nonprofit world hunger organization Heifer International.
In 1998, he supported President Bill Clinton during Clinton's impeachment trial. He was also a proponent of limited world government on the American federalist model, writing fundraising letters for the World Federalist Association (now Citizens for Global Solutions). In accepting the 1999 Norman Cousins Global Governance Award at the ceremony at the United Nations, Cronkite said:
It seems to many of us that if we are to avoid the eventual catastrophic world conflict we must strengthen the United Nations as a first step toward a world government patterned after our own government with a legislature, executive and judiciary, and police to enforce its international laws and keep the peace. To do that, of course, we Americans will have to yield up some of our sovereignty. That would be a bitter pill. It would take a lot of courage, a lot of faith in the new order. But the American colonies did it once and brought forth one of the most nearly perfect unions the world has ever seen.
Cronkite contrasted his support for accountable global government with the opposition to it by politically active Christian fundamentalists in the United States:
Even as with the American rejection of the League of Nations, our failure to live up to our obligations to the United Nations is led by a handful of willful senators who choose to pursue their narrow, selfish political objectives at the cost of our nation's conscience. They pander to and are supported by the Christian Coalition and the rest of the religious right wing. Their leader, Pat Robertson, has written that we should have a world government but only when the messiah arrives. Any attempt to achieve world order before that time must be the work of the Devil! Well join me... I'm glad to sit here at the right hand of Satan.
In 2003, Cronkite, who owned property on Martha's Vineyard, became involved in a long-running debate over his opposition to the construction of a wind farm in that area. In his column, he repeatedly condemned President George W. Bush and the 2003 invasion of Iraq. Cronkite appeared in the 2004 Robert Greenwald film Outfoxed, where he offered commentary on what he said were unethical and overtly political practices at the Fox News Channel. Cronkite remarked that when Fox News was founded by Rupert Murdoch, "it was intended to be a conservative organization – beyond that; a far-right-wing organization". In January 2006, during a press conference to promote the PBS documentary about his career, Cronkite said that he felt the same way about America's presence in Iraq as he had about their presence in Vietnam in 1968 and that he felt America should recall its troops.
Cronkite spoke out against the War on Drugs in support of the Drug Policy Alliance, writing a fundraising letter and appearing in advertisements on behalf of the DPA. In the letter, Cronkite wrote: "Today, our nation is fighting two wars: one abroad and one at home. While the war in Iraq is in the headlines, the other war is still being fought on our own streets. Its casualties are the wasted lives of our own citizens. I am speaking of the war on drugs. And I cannot help but wonder how many more lives, and how much more money, will be wasted before another Robert McNamara admits what is plain for all to see: the war on drugs is a failure."
Personal life
Cronkite was married for nearly 65 years to Mary Elizabeth 'Betsy' Maxwell Cronkite, from March 30, 1940, until her death from cancer on March 15, 2005. They had three children: Nancy Cronkite, Mary Kathleen (Kathy) Cronkite, and Walter Leland (Chip) Cronkite III (who is married to actress Deborah Rush). Cronkite dated singer Joanna Simon from 2005 to 2009.
A grandson, Walter Cronkite IV, now works at CBS. Cronkite's cousin is former Mayor of Kansas City and 2008 Democratic nominee for Missouri's 6th congressional district Kay Barnes.
Cronkite was an accomplished sailor and enjoyed sailing coastal waters of the United States in his custom-built 48-foot Sunward "Wyntje". Cronkite was a member of the United States Coast Guard Auxiliary, with the honorary rank of commodore. Throughout the 1950s, he was an aspiring sports car racer, even racing in the 1959 12 Hours of Sebring.
Cronkite was reported to be a fan of the game Diplomacy, which was rumored to be Henry Kissinger's favorite game.
Death
In June 2009, Cronkite was reported to be terminally ill. He died on July 17, 2009, at his home in New York City aged 92. He is believed to have died from cerebrovascular disease.
Cronkite's funeral took place on July 23, 2009, at St. Bartholomew's Church in midtown Manhattan, New York City. Among many journalists who attended were Tom Brokaw, Connie Chung, Katie Couric, Charles Gibson, Matt Lauer, Dan Rather, Andy Rooney, Morley Safer, Diane Sawyer, Bob Schieffer, Meredith Vieira, Barbara Walters, and Brian Williams. At his funeral, his friends noted his love of music, including, recently, drumming. He was cremated and his remains buried next to his wife, Betsy, in the family plot in Kansas City.
Legacy
Public credibility and trustworthiness
For many years, until a decade after he left his post as anchor, Cronkite was considered one of the most trusted figures in the United States. For most of his 19 years as anchor, he was the "predominant news voice in America." Affectionately known as "Uncle Walter," he covered many of the important news events of the era so effectively that his image and voice are closely associated with the Cuban Missile Crisis, the assassination of President John F. Kennedy, the Vietnam War, the Apollo 11 Moon landing, and the Watergate scandal. USA Today wrote that "few TV figures have ever had as much power as Cronkite did at his height." Enjoying the cult of personality surrounding Cronkite in those years, CBS allowed some good-natured fun-poking at its star anchorman in some episodes of the network's popular situation comedy All in the Family, during which the lead character Archie Bunker would sometimes complain about the newsman, calling him "Pinko Cronkite."
Cronkite trained himself to speak at a rate of 124 words per minute in his newscasts, so that viewers could clearly understand him. In contrast, Americans average about 165 words per minute, and fast, difficult-to-understand talkers speak close to 200 words per minute.
Awards and honors
In 1968, the faculty of the E. W. Scripps School of Journalism at Ohio University voted to award Cronkite the Carr Van Anda Award "for enduring contributions to journalism." In 1970, Cronkite received a "Freedom of the Press" George Polk Award and the Paul White Award from the Radio Television Digital News Association.
In 1972, in recognition of his career, Princeton University's American Whig-Cliosophic Society awarded Cronkite the James Madison Award for Distinguished Public Service.
In 1981, the year he retired, former president Jimmy Carter awarded Cronkite the Presidential Medal of Freedom. In that year, he also received the S. Roger Horchow Award for Greatest Public Service by a Private Citizen, an award given out annually by Jefferson Awards, and the Paul White Award for lifetime achievement from the Radio Television Digital News Association. In 1985, Cronkite was honored with the induction into the Academy of Television Arts and Sciences Hall of Fame. In 1989 he received the Four Freedoms Award for the Freedom of Speech. He was elected to the American Philosophical Society in 1994. In 1995, he received the Ischia International Journalism Award. In 1999, Cronkite received the Rotary National Award for Space Achievement's Corona Award in recognition of a lifetime of achievement in space exploration. He was elected a Fellow of the American Academy of Arts and Sciences in 2003. On March 1, 2006, Cronkite became the first non-astronaut to receive NASA's Ambassador of Exploration Award. Among Cronkite's numerous awards were four Peabody awards for excellence in broadcasting.
In 2003, Cronkite was honored by the Vienna Philharmonic with the Franz Schalk Gold Medal, in view of his contributions to the New Year's Concert and the cultural image of Austria.
Minor planet 6318 Cronkite, discovered in 1990 by Eleanor Helin is named in his honor.
Cronkite School at Arizona State University
A few years after Cronkite retired, Tom Chauncey, a former owner of KOOL-TV, the then-CBS affiliate in Phoenix, contacted Cronkite, an old friend, and asked him if he would be willing to have the journalism school at Arizona State University named after him. Cronkite immediately agreed. The ASU program acquired status and respect from its namesake.
Cronkite was not just a namesake, but he also took the time to interact with the students and staff of the Walter Cronkite School of Journalism and Mass Communication. Cronkite made the trip to Arizona annually to present the Walter Cronkite Award for Excellence in Journalism to a leader in the field of media.
"The values that Mr. Cronkite embodies – excellence, integrity, accuracy, fairness, objectivity – we try to instill in our students each and every day. There is no better role model for our faculty or our students," said Dean Christopher Callahan.
The school, with approximately 1,700 students, is widely regarded as one of the top journalism schools in the country. It is housed in a new facility in downtown Phoenix that is equipped with 14 digital newsrooms and computer labs, two TV studios, 280 digital student work stations, the Cronkite Theater, the First Amendment Forum, and new technology. The school's students regularly finish at the top of national collegiate journalism competitions, such as the Hearst Journalism Awards program and the Society of Professional Journalists Mark of Excellence Awards. In 2009, students won the Robert F. Kennedy Journalism Award for college print reporting.
In 2008, the state-of-the-art journalism education complex in the heart of ASU's Downtown Phoenix campus was also built in his honor. The Walter Cronkite Regents Chair in Communication seats the Texas College of Communications dean.
Walter Cronkite Papers
The Walter Cronkite papers are preserved at the curatorial Dolph Briscoe Center for American History at the University of Texas at Austin. Occupying 293 linear feet (almost 90 metres) of shelf space, the papers document Cronkite's journalism career. Amongst the collected material are Cronkite's early beginnings while he still lived in Houston. They encompass his coverage of World War II as a United Press International correspondent, where he cemented his reputation by taking on hazardous overseas assignments. During this time he also covered the Nuremberg war crimes trial serving as the chief of the United Press bureau in Moscow. The main content of the papers documents Cronkite's career with CBS News between 1950 and 1981.
The Cronkite Papers assemble a variety of interviews with U.S. presidents, including Herbert Hoover, Harry Truman, and Ronald Reagan. President Lyndon Johnson requested a special interview with Cronkite while he was broadcasting live on CBS.
Between 1990 and 1993, Don Carleton, executive director for the Center for American History, assisted Cronkite as he compiled an oral history to write his autobiography, A Reporter's Life, which was published in 1996. The taped memoirs became an integral part of an eight-part television series Cronkite Remembers, which was shown on the Discovery Channel.
As a newsman, Cronkite devoted his attention to the early days of the space program, and the "space race" between the United States and the Soviet Union. The National Aeronautics and Space Administration honored Cronkite on February 28, 2006. Michael Coats, director of NASA's Lyndon B. Johnson Space Center in Houston, presented Cronkite with the Ambassador of Exploration Award. Cronkite was the first non-astronaut thus honored.
NASA presented Cronkite with a Moon rock sample from the early Apollo expeditions spanning 1969 to 1972. Cronkite passed on the Moon rock to Bill Powers, president of the University of Texas at Austin, and it became part of the collection at the Dolph Briscoe Center for American History. Carleton said at this occasion, "We are deeply honored by Walter Cronkite's decision to entrust this prestigious award to the Center for American History. The Center already serves as the proud steward of his professional and personal papers, which include his coverage of the space program for CBS News. It is especially fitting that the archive documenting Walter's distinguished career should also include one of the moon rocks that the heroic astronauts of the Apollo program brought to Earth."
Memorial at Missouri Western State University
On November 4, 2013, Missouri Western State University in St. Joseph, Missouri, dedicated the Walter Cronkite Memorial. The nearly 6,000 square-foot memorial includes images, videos and memorabilia from Cronkite's life and the many events he covered as a journalist. The memorial includes a replica of the newsroom from which Cronkite broadcast the news during the 1960s and 1970s. In 2014, the Memorial received the Missouri Division of Tourism's Spotlight Award.
Books
The Challenges of Change (1971). Washington: Public Affairs Press. .
Eye on the World (1971). New York: Cowles Book Co. .
A Reporter's Life (1996). New York: Alfred A. Knopf. .
See also
New Yorkers in journalism
Walter Cronkite School of Journalism and Mass Communication
References
Further reading
Menand, Louis, "Seeing It Now: Walter Cronkite and the legend of CBS News", The New Yorker, July 9, 2012
External links
"Walter Cronkite, 92, Dies; Trusted Voice of TV News", The New York Times (July 17, 2009)
The Walter Cronkite Papers at the University of Texas at Austin
FBI Records: The Vault - Walter Leland Cronkite at vault.fbi.gov
1916 births
2009 deaths
20th-century American journalists
American male journalists
60 Minutes correspondents
Amateur radio people
American broadcast news analysts
American game show hosts
American television news anchors
American television reporters and correspondents
CBS News people
Drug policy reform activists
Fellows of the American Academy of Arts and Sciences
Journalists from Houston
Oklahoma Sooners football announcers
Peabody Award winners
People from St. Joseph, Missouri
Presidential Medal of Freedom recipients
San Jacinto High School alumni
Space advocates
Moody College of Communication alumni
American war correspondents of the Vietnam War
American war correspondents of World War II
20th-century American Episcopalians
Recipients of Ischia International Journalism Award
Members of the American Philosophical Society
United States Coast Guard Auxiliary officers
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[
"Don Cockburn (13 March 1930 – 4 September 2017) was an Irish journalist, presenter and newsreader. He is best known as a long-serving newsreader for Raidió Teilifís Éireann (RTÉ), who anchored the broadcaster's main evening television news programmes during over 30 years of service.\n\nCockburn was educated at Synge Street CBS, later studying Russian and Spanish at Trinity College Dublin at night after receiving a dispensation from Archbishop John Charles McQuaid to do so. \n\nHe originally joined RTÉ as a part-time announcer in 1958, and was made a full-time employee in 1972. He was formerly employed in Dublin Corporation as head of wages in the engineering department.\n\nHe retired 20 years later on 15 December 1992, having served as a newsreader for many years. His was known for cycling to RTÉ's Montrose Studios every day, when it might have been expected that a well known television figure like him would have driven.\n\nHe died on 4 September 2017.\n\nReferences\n\n1930 births\n2017 deaths\nRTÉ newsreaders and journalists\nPeople educated at Synge Street CBS",
"John McCaffery (November 30, 1913–October 3, 1983), also known as John K. M. McCaffery, was an American television host who appeared on many game shows and talk shows during the 1940s and 1950s including Americana, Television Screen Magazine, What's the Story, One Minute Please, and Author Meets the Critics.\n\nMcCaffery was best known as anchorman of what was called The eleventh Hour News.\n\nGame Shows\nMcCaffery also hosted the following game shows:\n We Take Your Word (CBS Radio - January 29 to April, 1950; CBS primetime - March 9 to June 1, 1951; replaced by John Daly during the rest of the run)\n Information Please (CBS primetime - August 24 to September 21, 1952; replaced Clifton Fadiman)\n Take a Guess (CBS primetime - June 11 to September 10, 1953)\n What's the Story (DuMont primetime - Fall 1953 to September 23, 1955)\n One Minute Please (DuMont primetime - July 6 to November 12, 1954; replaced by Allyn Edwards)\n\nFinal Series and Death\nHis last series was Alumni Fun, a primetime game which he hosted from January 20 to April 28, 1963 on ABC.\n\nMcCaffery died on October 3, 1983, at the age of 69.\n\nReferences\n\n1983 deaths\nAmerican game show hosts\n1913 births"
] |
[
"Walter Cronkite",
"Anchor of the CBS Evening News",
"When did Walter join CBS Evening news?",
"but later the CBS Evening News on September 2, 1963,",
"for how long was he the anchor of CBS evening News?",
"Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.",
"What kind of stories did Walter report?",
"A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963.",
"What was he known as during his time at CBS?",
"Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings"
] |
C_6ff1c1bd96ab4d89bc212590b574ea85_0
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What were his ratings for the Apollo 11 and Apollo 13 missions?
| 5 |
What were Walter Cronkite's ratings for the Apollo 11 and Apollo 13 missions?
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Walter Cronkite
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On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news. During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored the Huntley-Brinkley Report. For much of the 1960s, the Huntley-Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley-Brinkley Report in viewership during the summer months. In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981. One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981. CANNOTANSWER
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and made CBS the most-watched television network for the missions.
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Walter Leland Cronkite Jr. (November 4, 1916 – July 17, 2009) was an American broadcast journalist who served as anchorman for the CBS Evening News for 19 years (1962–1981). During the 1960s and 1970s, he was often cited as "the most trusted man in America" after being so named in an opinion poll. Cronkite reported many events from 1937 to 1981, including bombings in World War II; the Nuremberg trials; combat in the Vietnam War; the Dawson's Field hijackings; Watergate; the Iran Hostage Crisis; and the assassinations of President John F. Kennedy, civil rights pioneer Martin Luther King Jr., and Beatles musician John Lennon. He was also known for his extensive coverage of the U.S. space program, from Project Mercury to the Moon landings to the Space Shuttle. He was the only non-NASA recipient of an Ambassador of Exploration award. Cronkite is known for his departing catchphrase, "And that's the way it is", followed by the date of the broadcast.
Early life and education
Cronkite was born on November 4, 1916, in Saint Joseph, Missouri, the son of Helen Lena (née Fritsche) and Dr. Walter Leland Cronkite, a dentist.
Cronkite lived in Kansas City, Missouri, until he was ten, when his family moved to Houston, Texas. He attended elementary school at Woodrow Wilson Elementary School (now Baker Montessori School), junior high school at Lanier Junior High School (now Lanier Middle School) in Houston, and high school at San Jacinto High School, where he edited the high school newspaper. He was a member of the Boy Scouts. He attended college at the University of Texas at Austin (UT), entering in the Fall term of 1933, where he worked on the Daily Texan and became a member of the Nu chapter of the Chi Phi Fraternity. He also was a member of the Houston chapter of DeMolay, a Masonic fraternal organization for boys. While attending UT, Cronkite had his first taste of performance, appearing in a play with fellow student Eli Wallach. He dropped out in 1935, not returning for the Fall term, in order to concentrate on journalism.
Career
He dropped out of college in his junior year, in the fall term of 1935, after starting a series of newspaper reporting jobs covering news and sports. He entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma. In 1936, he met his future wife, Mary Elizabeth "Betsy" Maxwell, while working as the sports announcer for KCMO (AM) in Kansas City, Missouri. His broadcast name was "Walter Wilcox". He would explain later that radio stations at the time did not want people to use their real names for fear of taking their listeners with them if they left. In Kansas City, he joined the United Press International in 1937.
With his name now established, he received a job offer from Edward R. Murrow at CBS News to join the Murrow Boys team of war correspondents, relieving Bill Downs as the head of the Moscow bureau. CBS offered Cronkite $125 ($2,235 in 2020 money) a week along with "commercial fees" amounting to $25 ($447 in 2020) for almost every time Cronkite reported on air. Up to that point, he had been making $57.50 ($1,027 in 2020) per week at UP, but he had reservations about broadcasting. He initially accepted the offer. When he informed his boss Harrison Salisbury, UP countered with a raise of $17.50 ($312 in 2020) per week; Hugh Baillie also offered him an extra $20 ($357 in 2020) per week to stay. Cronkite ultimately accepted the UP offer, a move which angered Murrow and drove a wedge between them that would last for years.
Cronkite became one of the top American reporters in World War II, covering battles in North Africa and Europe. He was on board starting in Norfolk, Virginia, through her service off the coast of North Africa as part of Operation Torch, and thence back to the US. On the return trip, Cronkite was flown off Texas in one of her Vought OS2U Kingfisher aircraft when Norfolk was within flying distance. He was granted permission to be flown the rest of the distance to Norfolk so that he could outpace a rival correspondent on to return to the US and to issue the first uncensored news reports to be published about Operation Torch. Cronkite's experiences aboard Texas launched his career as a war correspondent. Subsequently, he was one of eight journalists selected by the United States Army Air Forces to fly bombing raids over Germany in a Boeing B-17 Flying Fortress part of group called The Writing 69th, and during a mission fired a machine gun at a German fighter. He also landed in a glider with the 101st Airborne Division in Operation Market Garden and covered the Battle of the Bulge. After the war, he covered the Nuremberg trials and served as the United Press main reporter in Moscow from 1946 to 1948.
Early years at CBS
In 1950, Cronkite joined CBS News in its young and growing television division, again recruited by Murrow. Cronkite began working at WTOP-TV (now WUSA), the CBS affiliate in Washington, D.C.. He originally served as anchor of the network's 15-minute late-Sunday-evening newscast Up To the Minute, which followed What's My Line? at 11:00 pm ET from 1951 through 1962.
Although it was widely reported that the term "anchor" was coined to describe Cronkite's role at both the Democratic and Republican National Conventions, marking the first nationally televised convention coverage, other news presenters bore the title before him. Cronkite anchored the network's coverage of the 1952 presidential election as well as later conventions. In 1964 he was temporarily replaced by the team of Robert Trout and Roger Mudd; this proved to be a mistake, and Cronkite returned to the anchor chair for future political conventions.
From 1953 to 1957, Cronkite hosted the CBS program You Are There, which reenacted historical events, using the format of a news report. His famous last line for these programs was: "What sort of day was it? A day like all days, filled with those events that alter and illuminate our times ... and you were there." In 1971, the show was revived and redesigned to attract an audience of teenagers and young adults, hosted again by Cronkite on Saturday mornings. In 1957, he began hosting The Twentieth Century (eventually renamed The 20th Century), a documentary series about important historical events of the century composed almost exclusively of newsreel footage and interviews. A long-running hit, the show was again renamed as The 21st Century in 1967 with Cronkite hosting speculative reporting on the future for another three years. Cronkite also hosted It's News to Me, a game show based on news events.
During the presidential elections of 1952 and 1956 Cronkite hosted the CBS news-discussion series Pick the Winner.
Another of his network assignments was The Morning Show, CBS' short-lived challenge to NBC's Today in 1954. His on-air duties included interviewing guests and chatting with a lion puppet named Charlemane about the news. He considered this discourse with a puppet as "one of the highlights" of the show. He added, "A puppet can render opinions on people and things that a human commentator would not feel free to utter. I was and I am proud of it." Cronkite also angered the R. J. Reynolds Tobacco Company, the show's sponsor, by grammatically correcting its advertising slogan. Instead of saying "Winston tastes good like a cigarette should" verbatim, he substituted "as" for "like."
He was the lead broadcaster of the network's coverage of the 1960 Winter Olympics, the first-ever time such an event was televised in the United States. He replaced Jim McKay, who had suffered a mental breakdown.
Anchor of the CBS Evening News
On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.
During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored The Huntley–Brinkley Report. For much of the 1960s, The Huntley–Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley–Brinkley Report in viewership during the summer months.
In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 Moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981.
One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981.
Historic moments
Kennedy's assassination
Cronkite is vividly remembered for breaking the news of the assassination of John F. Kennedy on Friday, November 22, 1963. Cronkite had been standing at the United Press International wire machine in the CBS newsroom as the bulletin of the President's shooting broke and he clamored to get on the air to break the news as he wanted CBS to be the first network to do so.
There was a problem facing the crew in the newsroom, however. There was no television camera in the studio at the time as the technical crew was working on it. Eventually, the camera was retrieved and brought back to the newsroom. Because of the magnitude of the story and the continuous flow of information coming from various sources, time was of the essence but the camera would take at least twenty minutes to become operational under normal circumstances. The decision was made to dispatch Cronkite to the CBS Radio Network booth to report the events and play the audio over the television airwaves while the crew worked on the camera to see if they could get it set up quicker.
Meanwhile, CBS was ten minutes into its live broadcast of the soap opera As the World Turns (ATWT), which had begun at the very minute of the shooting. A "CBS News Bulletin" bumper slide abruptly broke into the broadcast at 1:40 pm EST. Over the slide, Cronkite began reading what would be the first of three audio-only bulletins that were filed in the next twenty minutes:
While Cronkite was reading this bulletin, a second one arrived, mentioning the severity of Kennedy's wounds:
Just before the bulletin cut out, a CBS News staffer was heard saying "Connally too," apparently having just heard the news that Texas Governor John Connally had also been shot while riding in the presidential limousine with his wife Nellie and Mr. and Mrs. Kennedy.
CBS then rejoined the telecast of ATWT during a commercial break, which was followed by show announcer Dan McCullough's usual fee plug for the first half of the program and the network's 1:45 pm station identification break. Just before the second half of ATWT was to begin, the network broke in with the bumper slide a second time. In this bulletin Cronkite reported in greater detail about the assassination attempt on the President, while also breaking the news of Governor Connally's shooting.
Cronkite then recapped the events as they had happened: that the President and Governor Connally had been shot and were in the emergency room at Parkland Hospital, and no one knew their condition as yet. CBS then decided to return to ATWT, which was now midway through its second segment.
The cast had continued to perform live while Cronkite's bulletins broke into the broadcast, unaware of the unfolding events in Dallas. ATWT then took another scheduled commercial break. The segment before the break would be the last anyone would see of any network's programming until Tuesday, November 26. During the commercial, the bumper slide interrupted the proceedings again and Cronkite updated the viewers on the situation in Dallas. This bulletin went into more detail than the other two, revealing that Kennedy had been shot in the head, Connally in the chest. Cronkite remained on the air for the next ten minutes, continuing to read bulletins as they were handed to him, and recapping the events as they were known. He also related a report given to reporters by Texas Congressman Albert Thomas that the President and Governor were still alive, the first indication of their condition. At 2:00 pm EST, with the top of the hour station break looming, Cronkite told the audience that there would be a brief pause so that all of CBS' affiliates, including those in the Mountain and Pacific time zones which were not on the same schedule, could join the network. He then left the radio booth and went to the anchor desk in the newsroom.
Within twenty seconds of the announcement, every CBS affiliate except Dallas' KRLD (which was providing local coverage) was airing the network's feed. The camera was finally operational by this time and enabled the audience to see Cronkite, who was clad in shirt and tie but without his suit coat, given the urgent nature of the story. Cronkite reminded the audience, again, of the attempt made on the life of the President and tossed to KRLD news director Eddie Barker at the Dallas Trade Mart, where Kennedy was supposed to be making a speech before he was shot. Barker relayed information that Kennedy's condition was extremely critical. Then, after a prayer for Kennedy, Barker quoted an unofficial report that the President was dead but stressed it was not confirmed.
After several minutes, the coverage came back to the CBS newsroom where Cronkite reported that the President had been given blood transfusions and two priests had been called into the room. He also played an audio report from KRLD that someone had been arrested in the assassination attempt at the Texas School Book Depository. Back in Dallas Barker announced another report of the death of the President, mentioning that it came from a reliable source. Before the network left KRLD's feed for good, Barker first announced, then retracted, a confirmation of Kennedy's death.
CBS cut back to Cronkite reporting that one of the priests had administered last rites to the president. In the next few minutes, several more bulletins reporting that Kennedy had died were given to Cronkite, including one from CBS's own correspondent Dan Rather that had been reported as confirmation of Kennedy's demise by CBS Radio. As these bulletins came into the newsroom, it was becoming clearer that Kennedy had in fact lost his life. Cronkite, however, stressed that these bulletins were simply reports and not any official confirmation of the President's condition; some of his colleagues recounted in 2013 that his early career as a wire service reporter taught him to wait for official word before reporting a story. Still, as more word came in, Cronkite seemed to be resigned to the fact that it was only a matter of time before the assassination was confirmed. He appeared to concede this when, several minutes after he received the Rather report, he received word that the two priests who gave the last rites to Kennedy told reporters on the scene that he was dead. Cronkite said that report "seems to be as close to official as we can get", but would not declare it as such. Nor did he do so with a report from Washington, DC that came moments later, which said that government sources were now reporting the President was dead (this information was passed on to ABC as well, which took it as official confirmation and reported it as such; NBC did not report this information at all and chose instead to rely on reports from Charles Murphy and Robert MacNeil to confirm their suspicions).
At 2:38 pm EST, while filling in time with some observations about the security presence in Dallas, which had been increased due to violent acts against United Nations Ambassador Adlai Stevenson in the city earlier that year, Cronkite was handed a new bulletin. After looking it over for a moment, he took off his glasses, and made the official announcement:
After making that announcement, Cronkite paused briefly, put his glasses back on, and swallowed hard to maintain his composure. With noticeable emotion in his voice he intoned the next sentence of the news report:
With emotion still in his voice and eyes watering, Cronkite once again recapped the events after collecting himself, incorporating some wire photos of the visit and explaining the significance of the pictures now that Kennedy was dead. He reminded the viewers that Vice President Johnson was now the President and was to be sworn in, that Governor Connally's condition was still unknown, and that there was no report of whether the assassin had been captured. He then handed the anchor position to Charles Collingwood, who had just entered the newsroom, took his suit coat, and left the room for a while.
At about 3:30 pm EST, Cronkite came back into the newsroom to relay some new information. The two major pieces of information involved the Oath of Office being administered to now-President Johnson, which officially made him the thirty-sixth President, and that Dallas police had arrested a man named Lee Harvey Oswald whom they suspected had fired the fatal shots. After that, Cronkite left again to begin preparing for that night's CBS Evening News, which he returned to anchor as normal. For the next four days, along with his colleagues, Cronkite continued to report segments of uninterrupted coverage of the assassination, including the announcement of Oswald's death in the hands of Jack Ruby on Sunday. The next day, on the day of the funeral, Cronkite concluded CBS Evening News with the following assessment about the events of the last four dark days:
Referring to his coverage of Kennedy's assassination, in a 2006 TV interview with Nick Clooney, Cronkite recalled,
In a 2003 CBS special commemorating the 40th anniversary of the assassination, Cronkite recalled his reaction upon having the death confirmed to him, he said,
According to historian Douglas Brinkley, Cronkite provided a sense of perspective throughout the unfolding sequence of disturbing events.
Vietnam War
In mid-February 1968, on the urging of his executive producer Ernest Leiser, Cronkite and Leiser journeyed to Vietnam to cover the aftermath of the Tet Offensive. They were invited to dine with General Creighton Abrams, the commander of all forces in Vietnam, whom Cronkite knew from World War II. According to Leiser, Abrams told Cronkite, "we cannot win this Goddamned war, and we ought to find a dignified way out."
Upon return, Cronkite and Leiser wrote separate editorial reports based on that trip. Cronkite, an excellent writer, preferred Leiser's text over his own. On February 27, 1968, Cronkite closed "Report from Vietnam: Who, What, When, Where, Why?" with that editorial report:
Following Cronkite's editorial report, President Lyndon B. Johnson is claimed by some to have said, "If I've lost Cronkite, I've lost Middle America." However, this account of Johnson has been questioned by other observers in books on journalistic accuracy. At the time the editorial aired, Johnson was in Austin, Texas, attending Texas Governor John Connally's birthday gala and was giving a speech in his honor.
In his book This Just In: What I Couldn't Tell You on TV, CBS News correspondent Bob Schieffer, who was serving as a reporter for the Fort Worth Star-Telegram when Cronkite's editorial aired, acknowledged that Johnson did not see the original broadcast but also defended the allegation that Johnson had made the remark. According to Schieffer, Johnson's aide George Christian "told me that the President apparently saw some clips of it the next day" and that "That's when he made the remark about Cronkite. But he knew then that it would take more than Americans were willing to give it." When asked about the remark during a 1979 interview, Christian claimed he had no recollection about what the President had said. In his 1996 memoir A Reporter's Life, Cronkite claimed he was at first unsure about how much of an impact his editorial report had on Johnson's decision to drop his bid for re-election, and what eventually convinced him the President had made the statement was a recount from Bill Moyers, a journalist and former aide to Johnson.
Several weeks later, Johnson, who sought to preserve his legacy and was now convinced his declining health could not withstand growing public criticism, announced he would not seek reelection.
During the 1968 Democratic National Convention in Chicago, Cronkite was anchoring the CBS network coverage as violence and protests occurred outside the convention, as well as scuffles inside the convention hall. When Dan Rather was punched to the floor (on camera) by security personnel, Cronkite commented, "I think we've got a bunch of thugs here, Dan."
Other historic events
The first publicly transmitted live trans-Atlantic program was broadcast via the Telstar satellite on July 23, 1962, at 3:00 pm EDT, and Cronkite was one of the main presenters in this multinational broadcast. The broadcast was made possible in Europe by Eurovision and in North America by NBC, CBS, ABC, and the CBC. The first public broadcast featured CBS's Cronkite and NBC's Chet Huntley in New York, and the BBC's Richard Dimbleby in Brussels. Cronkite was in the New York studio at Rockefeller Plaza as the first pictures to be transmitted and received were the Statue of Liberty in New York and the Eiffel Tower in Paris. The first segment included a televised major league baseball game between the Philadelphia Phillies and the Chicago Cubs at Wrigley Field. From there, the video switched first to Washington, D.C.; then to Cape Canaveral, Florida; then to Quebec City, Quebec, and finally to Stratford, Ontario. The Washington segment included a press conference with President Kennedy, talking about the price of the American dollar, which was causing concern in Europe. This broadcast inaugurated live intercontinental news coverage, which was perfected later in the sixties with Early Bird and other Intelsat satellites.
General of the Army Dwight D. Eisenhower returned to his former Supreme Headquarters Allied Expeditionary Force (SHAEF) headquarters for an interview by Cronkite on the CBS News Special Report D-Day + 20, telecast on June 6, 1964.
Cronkite is also remembered for his coverage of the United States space program, and at times was visibly enthusiastic, rubbing his hands together on camera with a smile and uttering, "Whew...boy" on July 20, 1969, when the Apollo 11 lunar landing mission put the first men on the Moon.
Cronkite participated in Richard Nixon's 1972 visit to China. Because Cronkite was colorblind, he had to ask others what color of coat First Lady Pat Nixon was wearing when they disembarked in Peking (Beijing).
According to the 2006 PBS documentary on Cronkite, there was "nothing new" in his reports on the Watergate affair; however, Cronkite brought together a wide range of reporting, and his credibility and status is credited by many with pushing the Watergate story to the forefront with the American public, ultimately resulting in the resignation of President Richard M. Nixon on August 9, 1974. Cronkite had anchored the CBS coverage of Nixon's address, announcing his impending resignation, the night before.
The January 22, 1973, broadcast of the CBS Evening News saw Cronkite break the news of the death of another notable American political figure: former president Lyndon B. Johnson. At approximately 6:38 pm Eastern Time, while a pre-recorded report that the Vietnam peace talks in Paris had been successful was being played for the audience, Cronkite received a telephone call in the studio while off camera. The call was from Tom Johnson, the former press secretary for President Johnson who was at the time serving the former chief executive as station manager at KTBC-TV in Austin, Texas, which was affiliated with CBS at the time and was owned by the Johnson family. During the conversation the production staff cut away from the report back to the live camera in studio as Cronkite was still on the phone. After he was made aware that he was back on camera, Cronkite held up a finger to let everyone watching know he required a moment to let Johnson finish talking. Once Cronkite got what he needed, he thanked Johnson and asked him to stay on the line. He then turned to the camera and began to relay what Johnson had said to him.
During the final ten minutes of that broadcast, Cronkite reported on the death, giving a retrospective on the life of the nation's 36th president, and announced that CBS would air a special on Johnson later that evening. This story was re-told on a 2007 CBS-TV special honoring Cronkite's 90th birthday.
NBC-TV's Garrick Utley, anchoring NBC Nightly News that evening, also interrupted his newscast in order to break the story, doing so about three minutes after Cronkite on CBS. The news was not reported on that night's ABC Evening News, which was anchored by Howard K. Smith and Harry Reasoner, because ABC at the time fed their newscast live at 6:00 pm Eastern instead of 6:30 to get a head start on CBS and NBC for those stations that aired ABC Evening News live (although not every affiliate did).
On November 22, 1963, Cronkite introduced The Beatles to the United States by airing a four-minute story about the band on CBS Morning News. The story was scheduled to be shown again on the CBS Evening News that same day, but the assassination of John F. Kennedy prevented the broadcast of the regular evening news. The Beatles story was aired on the evening news program on December 10.
Retirement
On February 14, 1980, Cronkite announced that he intended to retire from the CBS Evening News; at the time, CBS had a policy of mandatory retirement by age 65. Although sometimes compared to a father figure or an uncle figure, in an interview about his retirement he described himself as being more like a "comfortable old shoe" to his audience. His last day in the anchor chair at the CBS Evening News was on March 6, 1981; he was succeeded the following Monday by Dan Rather.
Cronkite's farewell statement:
On the eve of Cronkite's retirement, he appeared on The Tonight Show hosted by Johnny Carson. The following night, Carson did a comic spoof of his on-air farewell address.
Other activities
Post-CBS Evening News
As he had promised on his last show as anchor in 1981, Cronkite continued to broadcast occasionally as a special correspondent for CBS, CNN, and NPR into the 21st century; one such occasion was Cronkite anchoring the second space flight by John Glenn in 1998 as he had Glenn's first in 1962. Cronkite hosted Universe until its cancellation in 1982. In 1983, he reported on the British general election for the ITV current affairs series World In Action, interviewing, among many others, the victorious Prime Minister, Margaret Thatcher. Cronkite hosted the annual Vienna New Year's Concert on PBS from 1985 to 2008, succeeded by Julie Andrews in 2009. For many years, until 2002, he was also the host of the annual Kennedy Center Honors.
In 1998, Cronkite hosted the 90-minute documentary, Silicon Valley: A 100 Year Renaissance, produced by the Santa Clara Valley Historical Association. The film documented Silicon Valley's rise from the origin of Stanford University to the current high-technology powerhouse. The documentary was broadcast on PBS throughout the United States and in 26 countries. Prior to 2004, he could also be seen in the opening movie "Back to Neverland" shown in the Walt Disney World attraction The Magic of Disney Animation, interviewing Robin Williams as if he is still on the CBS News channel, ending his on-camera time with Cronkite's famous catchphrase. In the feature, Cronkite describes the steps taken in the creation of an animated film, while Williams becomes an animated character (and even becomes Cronkite, impersonating his voice). He also was shown inviting Disney guests and tourists to the Disney Classics Theater.
On May 21, 1999, Cronkite participated in a panel discussion on "Integrity in the Media" with Ben Bradlee and Mike McCurry at the Connecticut Forum in Hartford, Connecticut. Cronkite provided an anecdote about taking a picture from a house in Houston, Texas, where a newsworthy event occurred and being praised for getting a unique photograph, only to find out later that the city desk had provided him with the wrong address.
Voice-overs
Cronkite narrated the IMAX film about the Space Shuttle, The Dream is Alive, released in 1985. From May 26, 1986, to August 15, 1994, he was the narrator's voice in the EPCOT Center attraction Spaceship Earth, at Walt Disney World in Orlando, Florida. He provided the pivotal voice of Captain Neweyes in the 1993 animated film We're Back: A Dinosaur's Story, delivering his trademark line at the end. In 1995, he made an appearance on Broadway, providing the voice of the titular book in the 1995 revival of How to Succeed in Business Without Really Trying.
Cronkite was a finalist for NASA's Journalist in Space program, which mirrored the Teacher in Space Project, an opportunity that was suspended after the Challenger disaster in 1986. He recorded voice-overs for the 1995 film Apollo 13, modifying the script he was given to make it more "Cronkitian." In 2002, Cronkite was the voice of Benjamin Franklin in the educational television cartoon Liberty's Kids, which included a news segment ending with the same phrase he did back on the CBS Evening News. This role earned him Daytime Emmy nominations for Outstanding Performer in a Children's Series, in 2003 and 2004, but he did not win. His distinctive voice provided the narration for the television ads of the University of Texas, Austin, his alma mater, with its 'We're Texas' ad campaign.
He held amateur radio operator license KB2GSD and narrated a 2003 American Radio Relay League documentary explaining amateur radio's role in disaster relief. The video tells Amateur Radio's public service story to non-hams, focusing on ham radio's part in helping various agencies respond to wildfires in the Western US during 2002, ham radio in space and the role Amateur Radio plays in emergency communications. "Dozens of radio amateurs helped the police and fire departments and other emergency services maintain communications in New York, Pennsylvania and Washington, DC," narrator Cronkite intoned in reference to ham radio's response to the terrorist attacks on September 11, 2001. Unusually, Cronkite was a Novice-class licensee—the entry level license—for his entire, and long, tenure in the hobby.
On February 15, 2005, he went into the studio at CBS to record narration for WCC Chatham Radio, a documentary about Guglielmo Marconi and his Chatham station, which became the busiest ship-to-shore wireless station in North America from 1914 to 1994. The documentary was directed by Christopher Seufert of Mooncusser Films and premiered at the Chatham Marconi Maritime Center in April 2005. In 2006, Cronkite hosted the World War One Living History Project, a program honoring America's final handful of veterans from the First World War. The program was created by Treehouse Productions and aired on NPR on November 11, 2006. In May 2009, Legacy of War, produced by PBS, was released. Cronkite chronicles, over archive footage, the events following World War II that resulted in America's rise as the dominant world power.
Prior to his death, "Uncle Walter" hosted a number of TV specials and was featured in interviews about the times and events that occurred during his career as America's "most trusted" man. In July 2006, the 90-minute documentary Walter Cronkite: Witness to History aired on PBS. The special was narrated by Katie Couric, who assumed the CBS Evening News anchor chair in September 2006. Cronkite provided the voiceover introduction to Couric's CBS Evening News, which began on September 5, 2006. Cronkite's voiceover was notably not used on introducing the broadcast reporting his funeral – no voiceover was used on this occasion.
TV and movie appearances
Cronkite made a cameo appearance on a 1974 episode of The Mary Tyler Moore Show, in which he met with Lou Grant in his office. Ted Baxter, who at first tried to convince Cronkite that he (Baxter) was as good a newsman as Eric Sevareid, pleaded with Cronkite to hire him for the network news, at least to give sport scores, and gave an example: "The North Stars 3, the Kings Oh!" Cronkite turned to Grant and said, "I'm gonna get you for this!" Cronkite later said that he was disappointed that his scene was filmed in one take, since he had hoped to sit down and chat with the cast.
In the late 1980s and again in the 1990s, Cronkite appeared on the news-oriented situation comedy Murphy Brown as himself. Both episodes were written by the Emmy Award-winning team of Tom Seeley and Norm Gunzenhauser. He also continued hosting a variety of series. In the early 1980s, he was host of the documentary series World War II with Walter Cronkite. In 1991, he hosted the TV documentary Dinosaur! on A&E (not related to the documentary of the same title hosted by Christopher Reeve on CBS six years earlier), and a 1994 follow-up series, Ape Man: The Story of Human Evolution. In 1995, he narrated the World Liberty Concert held in the Netherlands.
Cronkite routinely hosted the Kennedy Center Honors from 1981 to 2002.
Cronkite appeared briefly in the 2005 dramatic documentary The American Ruling Class written by Lewis Lapham; the 2000 film Thirteen Days reporting on the Cuban Missile Crisis; and provided the opening synopsis of the American Space Program leading to the events in Apollo 13 for the 1995 Ron Howard film of the same name.
Political activism
Cronkite wrote a syndicated opinion column for King Features Syndicate. In 2005 and 2006, he contributed to The Huffington Post. Cronkite was the honorary chairman of The Interfaith Alliance. In 2006, he presented the Walter Cronkite Faith and Freedom Award to actor and activist George Clooney on behalf of his organization at its annual dinner in New York.
Cronkite was a vocal advocate for free airtime for political candidates. He worked with the Alliance for Better Campaigns and Common Cause, for instance, on an unsuccessful lobbying effort to have an amendment added to the McCain-Feingold-Shays-Meehan Campaign Finance Reform Act of 2001 that would have required TV broadcast companies to provide free airtime to candidates. Cronkite criticized the present system of campaign finance which allows elections to "be purchased" by special interests, and he noted that all the European democracies "provide their candidates with extensive free airtime." "In fact," Cronkite pointed out, "of all the major nations worldwide that profess to have democracies, only seven – just seven – do not offer free airtime" This put the United States on a list with Ecuador, Honduras, Malaysia, Taiwan, Tanzania, and Trinidad and Tobago. Cronkite concluded that "The failure to give free airtime for our political campaigns endangers our democracy." During the elections held in 2000, the amount spent by candidates in the major TV markets approached $1 billion. "What our campaign asks is that the television industry yield just a tiny percentage of that windfall, less than 1 percent, to fund free airtime."
He was a member of the Constitution Project's bipartisan Liberty and Security Committee. He also supported the nonprofit world hunger organization Heifer International.
In 1998, he supported President Bill Clinton during Clinton's impeachment trial. He was also a proponent of limited world government on the American federalist model, writing fundraising letters for the World Federalist Association (now Citizens for Global Solutions). In accepting the 1999 Norman Cousins Global Governance Award at the ceremony at the United Nations, Cronkite said:
It seems to many of us that if we are to avoid the eventual catastrophic world conflict we must strengthen the United Nations as a first step toward a world government patterned after our own government with a legislature, executive and judiciary, and police to enforce its international laws and keep the peace. To do that, of course, we Americans will have to yield up some of our sovereignty. That would be a bitter pill. It would take a lot of courage, a lot of faith in the new order. But the American colonies did it once and brought forth one of the most nearly perfect unions the world has ever seen.
Cronkite contrasted his support for accountable global government with the opposition to it by politically active Christian fundamentalists in the United States:
Even as with the American rejection of the League of Nations, our failure to live up to our obligations to the United Nations is led by a handful of willful senators who choose to pursue their narrow, selfish political objectives at the cost of our nation's conscience. They pander to and are supported by the Christian Coalition and the rest of the religious right wing. Their leader, Pat Robertson, has written that we should have a world government but only when the messiah arrives. Any attempt to achieve world order before that time must be the work of the Devil! Well join me... I'm glad to sit here at the right hand of Satan.
In 2003, Cronkite, who owned property on Martha's Vineyard, became involved in a long-running debate over his opposition to the construction of a wind farm in that area. In his column, he repeatedly condemned President George W. Bush and the 2003 invasion of Iraq. Cronkite appeared in the 2004 Robert Greenwald film Outfoxed, where he offered commentary on what he said were unethical and overtly political practices at the Fox News Channel. Cronkite remarked that when Fox News was founded by Rupert Murdoch, "it was intended to be a conservative organization – beyond that; a far-right-wing organization". In January 2006, during a press conference to promote the PBS documentary about his career, Cronkite said that he felt the same way about America's presence in Iraq as he had about their presence in Vietnam in 1968 and that he felt America should recall its troops.
Cronkite spoke out against the War on Drugs in support of the Drug Policy Alliance, writing a fundraising letter and appearing in advertisements on behalf of the DPA. In the letter, Cronkite wrote: "Today, our nation is fighting two wars: one abroad and one at home. While the war in Iraq is in the headlines, the other war is still being fought on our own streets. Its casualties are the wasted lives of our own citizens. I am speaking of the war on drugs. And I cannot help but wonder how many more lives, and how much more money, will be wasted before another Robert McNamara admits what is plain for all to see: the war on drugs is a failure."
Personal life
Cronkite was married for nearly 65 years to Mary Elizabeth 'Betsy' Maxwell Cronkite, from March 30, 1940, until her death from cancer on March 15, 2005. They had three children: Nancy Cronkite, Mary Kathleen (Kathy) Cronkite, and Walter Leland (Chip) Cronkite III (who is married to actress Deborah Rush). Cronkite dated singer Joanna Simon from 2005 to 2009.
A grandson, Walter Cronkite IV, now works at CBS. Cronkite's cousin is former Mayor of Kansas City and 2008 Democratic nominee for Missouri's 6th congressional district Kay Barnes.
Cronkite was an accomplished sailor and enjoyed sailing coastal waters of the United States in his custom-built 48-foot Sunward "Wyntje". Cronkite was a member of the United States Coast Guard Auxiliary, with the honorary rank of commodore. Throughout the 1950s, he was an aspiring sports car racer, even racing in the 1959 12 Hours of Sebring.
Cronkite was reported to be a fan of the game Diplomacy, which was rumored to be Henry Kissinger's favorite game.
Death
In June 2009, Cronkite was reported to be terminally ill. He died on July 17, 2009, at his home in New York City aged 92. He is believed to have died from cerebrovascular disease.
Cronkite's funeral took place on July 23, 2009, at St. Bartholomew's Church in midtown Manhattan, New York City. Among many journalists who attended were Tom Brokaw, Connie Chung, Katie Couric, Charles Gibson, Matt Lauer, Dan Rather, Andy Rooney, Morley Safer, Diane Sawyer, Bob Schieffer, Meredith Vieira, Barbara Walters, and Brian Williams. At his funeral, his friends noted his love of music, including, recently, drumming. He was cremated and his remains buried next to his wife, Betsy, in the family plot in Kansas City.
Legacy
Public credibility and trustworthiness
For many years, until a decade after he left his post as anchor, Cronkite was considered one of the most trusted figures in the United States. For most of his 19 years as anchor, he was the "predominant news voice in America." Affectionately known as "Uncle Walter," he covered many of the important news events of the era so effectively that his image and voice are closely associated with the Cuban Missile Crisis, the assassination of President John F. Kennedy, the Vietnam War, the Apollo 11 Moon landing, and the Watergate scandal. USA Today wrote that "few TV figures have ever had as much power as Cronkite did at his height." Enjoying the cult of personality surrounding Cronkite in those years, CBS allowed some good-natured fun-poking at its star anchorman in some episodes of the network's popular situation comedy All in the Family, during which the lead character Archie Bunker would sometimes complain about the newsman, calling him "Pinko Cronkite."
Cronkite trained himself to speak at a rate of 124 words per minute in his newscasts, so that viewers could clearly understand him. In contrast, Americans average about 165 words per minute, and fast, difficult-to-understand talkers speak close to 200 words per minute.
Awards and honors
In 1968, the faculty of the E. W. Scripps School of Journalism at Ohio University voted to award Cronkite the Carr Van Anda Award "for enduring contributions to journalism." In 1970, Cronkite received a "Freedom of the Press" George Polk Award and the Paul White Award from the Radio Television Digital News Association.
In 1972, in recognition of his career, Princeton University's American Whig-Cliosophic Society awarded Cronkite the James Madison Award for Distinguished Public Service.
In 1981, the year he retired, former president Jimmy Carter awarded Cronkite the Presidential Medal of Freedom. In that year, he also received the S. Roger Horchow Award for Greatest Public Service by a Private Citizen, an award given out annually by Jefferson Awards, and the Paul White Award for lifetime achievement from the Radio Television Digital News Association. In 1985, Cronkite was honored with the induction into the Academy of Television Arts and Sciences Hall of Fame. In 1989 he received the Four Freedoms Award for the Freedom of Speech. He was elected to the American Philosophical Society in 1994. In 1995, he received the Ischia International Journalism Award. In 1999, Cronkite received the Rotary National Award for Space Achievement's Corona Award in recognition of a lifetime of achievement in space exploration. He was elected a Fellow of the American Academy of Arts and Sciences in 2003. On March 1, 2006, Cronkite became the first non-astronaut to receive NASA's Ambassador of Exploration Award. Among Cronkite's numerous awards were four Peabody awards for excellence in broadcasting.
In 2003, Cronkite was honored by the Vienna Philharmonic with the Franz Schalk Gold Medal, in view of his contributions to the New Year's Concert and the cultural image of Austria.
Minor planet 6318 Cronkite, discovered in 1990 by Eleanor Helin is named in his honor.
Cronkite School at Arizona State University
A few years after Cronkite retired, Tom Chauncey, a former owner of KOOL-TV, the then-CBS affiliate in Phoenix, contacted Cronkite, an old friend, and asked him if he would be willing to have the journalism school at Arizona State University named after him. Cronkite immediately agreed. The ASU program acquired status and respect from its namesake.
Cronkite was not just a namesake, but he also took the time to interact with the students and staff of the Walter Cronkite School of Journalism and Mass Communication. Cronkite made the trip to Arizona annually to present the Walter Cronkite Award for Excellence in Journalism to a leader in the field of media.
"The values that Mr. Cronkite embodies – excellence, integrity, accuracy, fairness, objectivity – we try to instill in our students each and every day. There is no better role model for our faculty or our students," said Dean Christopher Callahan.
The school, with approximately 1,700 students, is widely regarded as one of the top journalism schools in the country. It is housed in a new facility in downtown Phoenix that is equipped with 14 digital newsrooms and computer labs, two TV studios, 280 digital student work stations, the Cronkite Theater, the First Amendment Forum, and new technology. The school's students regularly finish at the top of national collegiate journalism competitions, such as the Hearst Journalism Awards program and the Society of Professional Journalists Mark of Excellence Awards. In 2009, students won the Robert F. Kennedy Journalism Award for college print reporting.
In 2008, the state-of-the-art journalism education complex in the heart of ASU's Downtown Phoenix campus was also built in his honor. The Walter Cronkite Regents Chair in Communication seats the Texas College of Communications dean.
Walter Cronkite Papers
The Walter Cronkite papers are preserved at the curatorial Dolph Briscoe Center for American History at the University of Texas at Austin. Occupying 293 linear feet (almost 90 metres) of shelf space, the papers document Cronkite's journalism career. Amongst the collected material are Cronkite's early beginnings while he still lived in Houston. They encompass his coverage of World War II as a United Press International correspondent, where he cemented his reputation by taking on hazardous overseas assignments. During this time he also covered the Nuremberg war crimes trial serving as the chief of the United Press bureau in Moscow. The main content of the papers documents Cronkite's career with CBS News between 1950 and 1981.
The Cronkite Papers assemble a variety of interviews with U.S. presidents, including Herbert Hoover, Harry Truman, and Ronald Reagan. President Lyndon Johnson requested a special interview with Cronkite while he was broadcasting live on CBS.
Between 1990 and 1993, Don Carleton, executive director for the Center for American History, assisted Cronkite as he compiled an oral history to write his autobiography, A Reporter's Life, which was published in 1996. The taped memoirs became an integral part of an eight-part television series Cronkite Remembers, which was shown on the Discovery Channel.
As a newsman, Cronkite devoted his attention to the early days of the space program, and the "space race" between the United States and the Soviet Union. The National Aeronautics and Space Administration honored Cronkite on February 28, 2006. Michael Coats, director of NASA's Lyndon B. Johnson Space Center in Houston, presented Cronkite with the Ambassador of Exploration Award. Cronkite was the first non-astronaut thus honored.
NASA presented Cronkite with a Moon rock sample from the early Apollo expeditions spanning 1969 to 1972. Cronkite passed on the Moon rock to Bill Powers, president of the University of Texas at Austin, and it became part of the collection at the Dolph Briscoe Center for American History. Carleton said at this occasion, "We are deeply honored by Walter Cronkite's decision to entrust this prestigious award to the Center for American History. The Center already serves as the proud steward of his professional and personal papers, which include his coverage of the space program for CBS News. It is especially fitting that the archive documenting Walter's distinguished career should also include one of the moon rocks that the heroic astronauts of the Apollo program brought to Earth."
Memorial at Missouri Western State University
On November 4, 2013, Missouri Western State University in St. Joseph, Missouri, dedicated the Walter Cronkite Memorial. The nearly 6,000 square-foot memorial includes images, videos and memorabilia from Cronkite's life and the many events he covered as a journalist. The memorial includes a replica of the newsroom from which Cronkite broadcast the news during the 1960s and 1970s. In 2014, the Memorial received the Missouri Division of Tourism's Spotlight Award.
Books
The Challenges of Change (1971). Washington: Public Affairs Press. .
Eye on the World (1971). New York: Cowles Book Co. .
A Reporter's Life (1996). New York: Alfred A. Knopf. .
See also
New Yorkers in journalism
Walter Cronkite School of Journalism and Mass Communication
References
Further reading
Menand, Louis, "Seeing It Now: Walter Cronkite and the legend of CBS News", The New Yorker, July 9, 2012
External links
"Walter Cronkite, 92, Dies; Trusted Voice of TV News", The New York Times (July 17, 2009)
The Walter Cronkite Papers at the University of Texas at Austin
FBI Records: The Vault - Walter Leland Cronkite at vault.fbi.gov
1916 births
2009 deaths
20th-century American journalists
American male journalists
60 Minutes correspondents
Amateur radio people
American broadcast news analysts
American game show hosts
American television news anchors
American television reporters and correspondents
CBS News people
Drug policy reform activists
Fellows of the American Academy of Arts and Sciences
Journalists from Houston
Oklahoma Sooners football announcers
Peabody Award winners
People from St. Joseph, Missouri
Presidential Medal of Freedom recipients
San Jacinto High School alumni
Space advocates
Moody College of Communication alumni
American war correspondents of the Vietnam War
American war correspondents of World War II
20th-century American Episcopalians
Recipients of Ischia International Journalism Award
Members of the American Philosophical Society
United States Coast Guard Auxiliary officers
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[
"The Apollo program was the third United States human spaceflight program carried out by the National Aeronautics and Space Administration (NASA), which accomplished landing the first humans on the Moon from 1969 to 1972. During the Apollo 11 mission, astronauts Neil Armstrong and Buzz Aldrin landed their Apollo Lunar Module (LM) and walked on the lunar surface, while Michael Collins remained in lunar orbit in the command and service module (CSM), and all three landed safely on Earth on July 24, 1969. Five subsequent Apollo missions also landed astronauts on the Moon, the last in December 1972. In these six spaceflights, twelve men walked on the Moon.\n\nApollo ran from 1961 to 1972, with the first crewed flight in 1968. It achieved its goal of crewed lunar landing, despite the major setback of a 1967 Apollo 1 cabin fire that killed the entire crew during a prelaunch test. After the first landing, sufficient flight hardware remained for nine follow-up landings with a plan for extended lunar geological and astrophysical exploration. Budget cuts forced the cancellation of three of these. Five of the remaining six missions achieved successful landings, but the Apollo 13 landing was prevented by an oxygen tank explosion in transit to the Moon, which damaged the CSM's propulsion and life support. The crew returned to Earth safely by using the Lunar Module as a \"lifeboat\" for these functions. Apollo used Saturn family rockets as launch vehicles, which were also used for an Apollo Applications Program, which consisted of Skylab, a space station that supported three crewed missions from 1973 through 1974, and the Apollo–Soyuz Test Project, a joint Earth orbit mission with the Soviet Union in 1975.\n\nApollo set several major human spaceflight milestones. It stands alone in sending crewed missions beyond low Earth orbit. Apollo 8 was the first crewed spacecraft to orbit another celestial body, while the final Apollo 17 mission marked the sixth Moon landing and the ninth crewed mission beyond low Earth orbit. The program returned of lunar rocks and soil to Earth, greatly contributing to the understanding of the Moon's composition and geological history. The program laid the foundation for NASA's subsequent human spaceflight capability. Apollo also spurred advances in many areas of technology incidental to rocketry and crewed spaceflight, including avionics, telecommunications, and computers.\n\nThe Apollo program used four types of launch vehicles. The first was the Little Joe II, which was used for uncrewed suborbital launch escape system development. The second was the Saturn I, which was used for uncrewed suborbital and orbital hardware development. The third was the Saturn IB, which was used for preparatory uncrewed missions and Apollo 7. Last, the Saturn V, which was used for uncrewed and crewed Earth orbit and lunar missions. The Marshall Space Flight Center, which designed the Saturn rockets, referred to the flights as Saturn-Apollo (SA), while Kennedy Space Center referred to the flights as Apollo-Saturn (AS). This is why the uncrewed Saturn I flights are referred to as SA and the uncrewed Saturn IB are referred to as AS.\n\nUncrewed test flights\n\nFrom 1961 through 1967, Saturn launch vehicles and Apollo spacecraft components were tested in uncrewed flights.\n\nSaturn I\nThe Saturn I launch vehicle was originally planned to carry crewed Command Module flights into low Earth orbit, but its payload capacity limit could not lift even a partially fueled Service Module, which would have required building a lightweight retrorocket module for deorbit. These plans were eventually scrapped, in favor of using the uprated Saturn IB to launch the Command Module with a half-fueled Service Module for crewed Earth orbit tests. This limited Saturn I flights to Saturn launch vehicle development, CSM boilerplate testing, and three micrometeroid satellite launches in support of Apollo.\n\nThere was some incongruity in the numbering and naming of the first three uncrewed Apollo-Saturn (AS), or Apollo flights. This is due to AS-204 being renamed to Apollo 1 posthumously. This crewed flight was to have followed the first three uncrewed flights. After the fire which killed the AS-204 crew on the pad during a test and training exercise, uncrewed Apollo flights resumed to test the Saturn V launch vehicle and the Lunar Module; these were designated Apollo 4, 5 and 6. The first crewed Apollo mission was thus Apollo 7. Simple \"Apollo\" numbers were never assigned to the first three uncrewed flights, although renaming AS-201, AS-202, and AS-203 as Apollo 1-A, Apollo 2 and Apollo 3, had been briefly considered.\n\nSaturn IB\nThe Saturn I was converted to the Uprated Saturn I, eventually designated Saturn IB, by replacing the S-IV second stage with the S-IVB, which would also be used as the third stage of the Saturn V with the addition of on-orbit restart capability. This increased the payload capacity to , enough to orbit a Command Module with a half-fueled Service Module, and more than enough to orbit a fully fueled Lunar Module.\n\nTwo suborbital tests of the Apollo Block I Command and Service Module, one S-IVB development test, and one Lunar Module test were conducted. Success of the LM test led to cancellation of a planned second uncrewed flight.\n\nUncrewed launch escape system tests\n\nFrom August 1963 to January 1966, a number of tests were conducted for development of the launch escape system (LES). These included simulated \"pad aborts\", which might occur while the Apollo-Saturn space vehicle was still on the launch pad, and flights on the Little Joe II rocket to simulate Mode I aborts which might occur while the vehicle was in the air.\n\nSaturn V\nPrior to George Mueller's tenure as NASA's Associate Administrator for Manned Space Flight starting in 1963, it was assumed that 20 Saturn Vs, with at least 10 unmanned test flights, would be required to achieve a crewed Moon landing, using the conservative one-stage-at-a-time testing philosophy used for the Saturn I. But Mueller introduced the \"all-up\" testing philosophy of using three live stages plus the Apollo spacecraft on every test flight. This achieved development of the Saturn V with far fewer uncrewed tests, and facilitated achieving the Moon landing by the 1969 goal. The size of the Saturn V production lot was reduced from 20 to 15 units. \n\nThree uncrewed test flights were planned to human-rate the super-heavy lift Saturn V which would take crewed Apollo flights to the Moon. Success of the first flight and qualified success of the second led to the decision to cancel the third uncrewed test.\n\nAlphabetical mission types\n\nThe Apollo program required sequential testing of several major mission elements in the runup to a crewed lunar landing. An alphabetical list of major mission types was proposed by Owen Maynard in September 1967. Two \"A-type\" missions performed uncrewed tests of the CSM and the Saturn V, and one B-type mission performed an uncrewed test of the LM. The C-type mission, the first crewed flight of the CSM in Earth orbit, was performed by Apollo 7.\n\nThe list was revised upon George Low's proposal to commit a mission to lunar orbit ahead of schedule, an idea influenced by the status of the CSM as a proven craft and production delays of the LM. Apollo 8 was reclassified from its original assignment as a D-type mission, a test of the complete CSM/LM spacecraft in Earth orbit, to a \"C-prime\" mission which would fly humans to the Moon. Once complete, it obviated the need for the E-type objective of a medium Earth orbital test. The D-type mission was instead performed by Apollo 9; the F-type mission, Apollo 10, flew the CSM/LM spacecraft to the Moon for final testing, without landing. The G-type mission, Apollo 11, performed the first lunar landing, the central goal of the program.\n\nThe initial A-G list was expanded to include later mission types: H-type missions—Apollo 12, 13 (planned) and 14—would perform precision landings, and J-type missions—Apollo 15, 16 and 17—would perform thorough scientific investigation. The I-type objective, which called for extended lunar orbital surveillance of the Moon, was incorporated into the J-type missions.\n\nThermal-vacuum tests\n\nCrewed missions\n\nThe Block I CSM spacecraft did not have capability to fly with the LM, and the three crew positions were designated Command Pilot, Senior Pilot, and Pilot, based on U.S. Air Force pilot ratings. The Block II spacecraft was designed to fly with the Lunar Module, so the corresponding crew positions were designated Commander, Command Module Pilot, and Lunar Module Pilot regardless of whether a Lunar Module was present or not on any mission.\n\nSeven of the missions involved extravehicular activity (EVA), spacewalks or moonwalks outside of the spacecraft. These were of three types: testing the lunar EVA suit in Earth orbit (Apollo 9), exploring the lunar surface, and retrieving film canisters from the Scientific Instrument Module stored in the Service Module.\n\nCanceled missions \n\nSeveral planned missions of the Apollo program were canceled for a variety of reasons, including changes in technical direction, the Apollo 1 fire, hardware delays, and budget limitations.\n\n Before the Apollo 1 fire, two crewed Block I spacecraft missions were planned, but then it was decided that the second one would give no more information about the spacecraft performance not obtained from the first, and could not carry out extra activities such as EVA, and was canceled.\n\n The Saturn V's all-up testing strategy and relatively good success rate accomplished the first Moon landing on the sixth flight, leaving a total of ten available for Moon landings through Apollo 20. But waning public interest in the program led to decreased Congressional funding, forcing NASA to economize. First, Apollo 20 was cut to make a Saturn V available to launch the Skylab space station whole instead of building it on-orbit using multiple Saturn IB launches. Soon after, Apollo 18 and 19 were also cut to further economize, and because of fears of increased chance of failure with a large number of lunar flights.\n\nSee also\nThere were two NASA post-Apollo crewed spaceflight programs that used Apollo hardware:\n Skylab#Mission designations – space laboratory missions lasting up to 83 days\n Apollo–Soyuz – first joint US / Soviet crewed spaceflight\n\nNotes\n\nReferences\n\nBibliography\n\nExternal links\n NASA page on Apollo Missions\n National Space Science Data Center (Goddard Space Flight Center): Apollo Program with links to books on Program\n Space.com List of Apollo Missions.\n AstronomyToday List of Missions\n Project Apollo Flickr Photo Archive\n\n \n\nApollo\nApollo",
"The Apollo Applications Program (AAP) was created as early as 1966 by NASA headquarters to develop science-based human spaceflight missions using hardware developed for the Apollo program. AAP was the ultimate development of a number of official and unofficial Apollo follow-on projects studied at various NASA labs. However, the AAP's ambitious initial plans became an early casualty when the Johnson Administration declined to support it adequately, partly in order to implement its Great Society set of domestic programs while remaining within a $100 billion budget. Thus, Fiscal Year 1967 ultimately allocated $80 million to the AAP, compared to NASA's preliminary estimates of $450 million necessary to fund a full-scale AAP program for that year, with over $1 billion being required for FY 1968. The AAP eventually led to Skylab, which absorbed much of what had been developed under Apollo Applications.\n\nOrigins\nNASA management was concerned about losing the 400,000 workers involved in Apollo after landing on the Moon in 1969. A reason Wernher von Braun, head of NASA's Marshall Space Flight Center during the 1960s, advocated for a smaller station after his large one was not built was that he wished to provide his employees with work beyond developing the Saturn rockets, which would be completed relatively early during Project Apollo. NASA set up the Apollo Logistic Support System Office, originally intended to study various ways to modify the Apollo hardware for scientific missions. Initially the AAP office was an offshoot of the Apollo \"X\" bureau, also known as the Apollo Extension Series. AES was developing technology concepts for mission proposals based on the Saturn IB and Saturn V boosters. These included a crewed lunar base, an Earth-orbiting space station, the so-called Grand Tour of the Outer Solar System, and the original Voyager program of Mars Lander probes.\n\nAES (Apollo Extension Series) Lunar Base\nThe Apollo lunar base proposal saw an uncrewed Saturn V used to land a shelter based on the Apollo Command/Service Module (CSM) on the Moon. A second Saturn V would carry a three-person crew and a modified CSM and Apollo Lunar Module (LM) to the Moon. The two-person excursion team would have a surface stay time of nearly 200 days and use of an advanced lunar rover and a lunar flier as well as logistics vehicles to construct a larger shelter. The isolation of the CSM pilot was a concern for mission planners, so proposals that it would be a three-person landing team or that the CSM would rendezvous with an orbiting module were considered.\n\nEvolution\nThe following phases were considered:\n\nPhase 1: 1969-1971: This \"Apollo Phase\" commenced with the first lunar landing and continued for four missions, or until sufficient experience had been achieved to allow the next phase to commence. As actually flown by NASA, these missions corresponded to Apollo 11 to Apollo 14.\nPhase 2: 1972 to 1973: This Lunar Exploration Phase would commence about two years after Apollo and consisted of four flights of the Extended Lunar Module (ELM), a modification of basic Apollo Lunar Module hardware. ELM missions extended lunar stay time to 3 or 4 days with landed payloads approaching 450 kg. This scenario corresponded to Apollo 15 to Apollo 17 as flown.\nPhase 3: 1974: A single Lunar Orbital Survey Mission was indicated after the Lunar Surface Exploration phase and would be the end of the initial buy of Apollo spacecraft. This 28-day lunar polar orbit mission would be flown after the Apollos and ELMs, in order to have several \"ground-truth\" sites.\nPhase 4: 1975-1976: This Lunar Surface Rendezvous and Exploration Phase nominally consisted of two dual-launch missions. A Lunar Payload Module (LPM - essentially the LM Truck of earlier studies) would be delivered by an uncrewed cargo carrier to the surface and provide a rendezvous target for a crewed ELM that would arrive up to 3 months later. The Apollo LM Shelter was essentially an Apollo LM with ascent stage engine and fuel tanks removed and replaced with consumables and scientific equipment for 14 days' extended lunar exploration.\n\nAssociated vehicles\nThe Apollo LM Taxi was essentially the basic Apollo LM modified for extended lunar surface stays. This was expected to be the workhorse of both Apollo Applications Extended Lunar Surface Missions beginning in 1970 and to larger Lunar Exploration System for Apollo in the mid-to-late 1970s.\n\nThe Apollo LM Shelter was essentially an Apollo LM with ascent stage engine and fuel tanks removed and replaced with consumables and scientific equipment for 14 days' extended lunar exploration.\n\nThe MOBEV F2B was a multi-person surface-to-surface flying vehicle.\n\nLESA (Lunar Exploration System for Apollo) Lunar Base\nThe basic Apollo hardware would evolve into AES (Apollo Extension Systems), followed by ALSS (Apollo Logistics Support System), and then LESA (Lunar Exploration System for Apollo). The result would be ever-expanding permanent stations on the Moon.\n\nLESA (Lunar Exploration System for Apollo) represented the last lunar base concept studied by NASA prior to the cancellation of further Saturn V production. LESA would use a new Lunar Landing Vehicle to land payloads on the lunar surface and extended CSM and LM Taxi hardware derived from the basic Apollo program would allow crews to be rotated to the ever-expanding, and eventually permanent, lunar base. A nuclear reactor would provide power.\n\nPhases:\n 2 men/2 days - Apollo\n 2 men/14 days - AES - LM Shelter (2050 kg surface payload - LEM Shelter)\n 2 men/14 to 30 days - ALSS with shelter or MOLAB (4100 kg surface payload)\n 3 men/90 days - LESA I (10,500 kg surface payload)\n 3 men/90 days - LESA I + MOLAB (12,500 kg surface payload)\n 6 men/180 days - LESA II with shelter and extended-range roving vehicle (25,000 kg surface payload)\n\nLunar Escape Systems\nTo support longer stays on the Moon, NASA also studied a number of simple Lunar Escape Systems as a means of returning two astronauts from the lunar surface to an orbiting CSM if the Lunar Module ascent-stage engine failed to ignite.\n\nManned Venus Flyby\n\nAnother plan for Apollo-based extended-duration crewed spaceflight would use a Saturn V to send three crew on a Manned Venus Flyby, using the Saturn S-IVB stage as a \"wet workshop\". First the S-IVB would boost itself and the Apollo CSM on a trajectory that would pass by Venus and return to Earth, then any remaining fuel would be vented to space, after which the astronauts would live in the empty fuel tanks until they separated from the S-IVB shortly before reentry on their return to Earth.\n\nDevelopment\nWhen procurement of Saturn Vs other than those required for the lunar landing was stopped in 1968, focus shifted to AAP. Aside from attempting to show that Apollo presented value for money, NASA and the main contractors of Boeing, Grumman, North American Aviation and Rockwell also hoped to put off the inevitable scaling down of staff and facilities following the completion of the first Moon landing.\n\nThree AAP proposals were selected for development:\n\n The Apollo Telescope Mission would be an Earth-orbiting mission for solar observation. The telescope would be based on a modified Lunar Module ascent stage, and launched using a S-IVB. The telescope would be docked to a CSM with a three-person crew. Solar panels on the telescope would provide additional power, allowing an extended mission of 21–28 days. The telescope module would include a pressurized compartment providing additional living and workspace for the crew.\n The Apollo Manned Survey Mission proposed an Earth-observation science module also based on the LM ascent stage, and would also have been launched using a S-IVB vehicle into a high-inclination orbit. It was also proposed that a surplus Saturn V would launch a crewed lunar survey mission to establish suitable sites for later crewed landings.\n The wet workshop space station concept provided for a low-budget Earth orbiting station. The original plan, as proposed by Wernher von Braun, used the S-II stage as the primary structure of the station, with the area normally filled by the S-IVB stage replaced with an equipment carrier. These plans were modified to use the S-IVB when Saturn V production ended with just enough boosters for the lunar missions alone.\n\nIn the meantime several of the Earth-orbit \"checkout\" missions for Apollo had been canceled, leaving a number of Saturn IBs unused. The plans were changed to use the S-IVB stage, used on both rockets, as the primary station structure. A modified S-IVB would be launched into orbit, the second stage carrying a docking module and large solar panels in the area normally carrying the LM. A CSM would then be able to dock with the second stage and enter the now-empty fuel tanks. It was also suggested that the Apollo Telescope and Survey Mission modules might be docked to the Wet Workshop to create a modular space station.\n\nThe \"Planetary Grand Tour\" was moved to the Mariner program as \"Mariner Jupiter-Saturn\", which was later calved off into the Voyager program. Two probes were launched in 1977 on Titan IIIE rockets, with Voyager 2 completing the full Grand Tour in 1989.\n\nSkylab\n\nOriginally, AAP missions would alternate with Apollo lunar missions, starting in 1969. However, when NASA's 1969 budget was cut, focus was shifted to the Skylab space station proposal, which managed to accommodate the equipment already specified for some of the AAP missions. Specifically, Skylab included the Apollo Telescope Mission (renamed the Apollo Telescope Mount) attached to the docking station used by the CSMs. Since the first two stages of the Saturn V had enough payload capability by themselves to place a pre-fabricated S-IVB workshop into the appropriate orbit, this enabled the \"dry workshop\" concept. This allowed the interior space to be better fitted out, although many design concepts from the \"wet\" workshop, notably the open flooring that allowed fuel to flow through it, were kept in Skylab.\n\nThe concept of launching another Skylab into lunar orbit using a spare S-IVB was briefly discussed around the same time, but no justification could be found for it, so the project was abandoned early on.\n\nApollo-Soyuz Test Project\n\nThe Apollo-Soyuz Test Project involved a docking in Earth orbit between a CSM and a Soviet Soyuz spacecraft. The mission lasted from July 15 to July 24, 1975. Although the Soviet Union continued to operate the Soyuz and Salyut space vehicles, NASA's next crewed mission would not be until STS-1 on April 12, 1981.\n\nSummary of missions\n\nReferences\n\nWorks cited\n\nApollo program\nApplication\n1968 establishments in Washington, D.C.\nHuman missions to Venus"
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[
"Walter Cronkite",
"Anchor of the CBS Evening News",
"When did Walter join CBS Evening news?",
"but later the CBS Evening News on September 2, 1963,",
"for how long was he the anchor of CBS evening News?",
"Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.",
"What kind of stories did Walter report?",
"A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963.",
"What was he known as during his time at CBS?",
"Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings",
"What were his ratings for the Apollo 11 and Apollo 13 missions?",
"and made CBS the most-watched television network for the missions."
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When was Walter's last show on CBS Evening News?
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When was Walter Cronkite's last show on the CBS Evening News?
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Walter Cronkite
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On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news. During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored the Huntley-Brinkley Report. For much of the 1960s, the Huntley-Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley-Brinkley Report in viewership during the summer months. In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981. One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981. CANNOTANSWER
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Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981.
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Walter Leland Cronkite Jr. (November 4, 1916 – July 17, 2009) was an American broadcast journalist who served as anchorman for the CBS Evening News for 19 years (1962–1981). During the 1960s and 1970s, he was often cited as "the most trusted man in America" after being so named in an opinion poll. Cronkite reported many events from 1937 to 1981, including bombings in World War II; the Nuremberg trials; combat in the Vietnam War; the Dawson's Field hijackings; Watergate; the Iran Hostage Crisis; and the assassinations of President John F. Kennedy, civil rights pioneer Martin Luther King Jr., and Beatles musician John Lennon. He was also known for his extensive coverage of the U.S. space program, from Project Mercury to the Moon landings to the Space Shuttle. He was the only non-NASA recipient of an Ambassador of Exploration award. Cronkite is known for his departing catchphrase, "And that's the way it is", followed by the date of the broadcast.
Early life and education
Cronkite was born on November 4, 1916, in Saint Joseph, Missouri, the son of Helen Lena (née Fritsche) and Dr. Walter Leland Cronkite, a dentist.
Cronkite lived in Kansas City, Missouri, until he was ten, when his family moved to Houston, Texas. He attended elementary school at Woodrow Wilson Elementary School (now Baker Montessori School), junior high school at Lanier Junior High School (now Lanier Middle School) in Houston, and high school at San Jacinto High School, where he edited the high school newspaper. He was a member of the Boy Scouts. He attended college at the University of Texas at Austin (UT), entering in the Fall term of 1933, where he worked on the Daily Texan and became a member of the Nu chapter of the Chi Phi Fraternity. He also was a member of the Houston chapter of DeMolay, a Masonic fraternal organization for boys. While attending UT, Cronkite had his first taste of performance, appearing in a play with fellow student Eli Wallach. He dropped out in 1935, not returning for the Fall term, in order to concentrate on journalism.
Career
He dropped out of college in his junior year, in the fall term of 1935, after starting a series of newspaper reporting jobs covering news and sports. He entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma. In 1936, he met his future wife, Mary Elizabeth "Betsy" Maxwell, while working as the sports announcer for KCMO (AM) in Kansas City, Missouri. His broadcast name was "Walter Wilcox". He would explain later that radio stations at the time did not want people to use their real names for fear of taking their listeners with them if they left. In Kansas City, he joined the United Press International in 1937.
With his name now established, he received a job offer from Edward R. Murrow at CBS News to join the Murrow Boys team of war correspondents, relieving Bill Downs as the head of the Moscow bureau. CBS offered Cronkite $125 ($2,235 in 2020 money) a week along with "commercial fees" amounting to $25 ($447 in 2020) for almost every time Cronkite reported on air. Up to that point, he had been making $57.50 ($1,027 in 2020) per week at UP, but he had reservations about broadcasting. He initially accepted the offer. When he informed his boss Harrison Salisbury, UP countered with a raise of $17.50 ($312 in 2020) per week; Hugh Baillie also offered him an extra $20 ($357 in 2020) per week to stay. Cronkite ultimately accepted the UP offer, a move which angered Murrow and drove a wedge between them that would last for years.
Cronkite became one of the top American reporters in World War II, covering battles in North Africa and Europe. He was on board starting in Norfolk, Virginia, through her service off the coast of North Africa as part of Operation Torch, and thence back to the US. On the return trip, Cronkite was flown off Texas in one of her Vought OS2U Kingfisher aircraft when Norfolk was within flying distance. He was granted permission to be flown the rest of the distance to Norfolk so that he could outpace a rival correspondent on to return to the US and to issue the first uncensored news reports to be published about Operation Torch. Cronkite's experiences aboard Texas launched his career as a war correspondent. Subsequently, he was one of eight journalists selected by the United States Army Air Forces to fly bombing raids over Germany in a Boeing B-17 Flying Fortress part of group called The Writing 69th, and during a mission fired a machine gun at a German fighter. He also landed in a glider with the 101st Airborne Division in Operation Market Garden and covered the Battle of the Bulge. After the war, he covered the Nuremberg trials and served as the United Press main reporter in Moscow from 1946 to 1948.
Early years at CBS
In 1950, Cronkite joined CBS News in its young and growing television division, again recruited by Murrow. Cronkite began working at WTOP-TV (now WUSA), the CBS affiliate in Washington, D.C.. He originally served as anchor of the network's 15-minute late-Sunday-evening newscast Up To the Minute, which followed What's My Line? at 11:00 pm ET from 1951 through 1962.
Although it was widely reported that the term "anchor" was coined to describe Cronkite's role at both the Democratic and Republican National Conventions, marking the first nationally televised convention coverage, other news presenters bore the title before him. Cronkite anchored the network's coverage of the 1952 presidential election as well as later conventions. In 1964 he was temporarily replaced by the team of Robert Trout and Roger Mudd; this proved to be a mistake, and Cronkite returned to the anchor chair for future political conventions.
From 1953 to 1957, Cronkite hosted the CBS program You Are There, which reenacted historical events, using the format of a news report. His famous last line for these programs was: "What sort of day was it? A day like all days, filled with those events that alter and illuminate our times ... and you were there." In 1971, the show was revived and redesigned to attract an audience of teenagers and young adults, hosted again by Cronkite on Saturday mornings. In 1957, he began hosting The Twentieth Century (eventually renamed The 20th Century), a documentary series about important historical events of the century composed almost exclusively of newsreel footage and interviews. A long-running hit, the show was again renamed as The 21st Century in 1967 with Cronkite hosting speculative reporting on the future for another three years. Cronkite also hosted It's News to Me, a game show based on news events.
During the presidential elections of 1952 and 1956 Cronkite hosted the CBS news-discussion series Pick the Winner.
Another of his network assignments was The Morning Show, CBS' short-lived challenge to NBC's Today in 1954. His on-air duties included interviewing guests and chatting with a lion puppet named Charlemane about the news. He considered this discourse with a puppet as "one of the highlights" of the show. He added, "A puppet can render opinions on people and things that a human commentator would not feel free to utter. I was and I am proud of it." Cronkite also angered the R. J. Reynolds Tobacco Company, the show's sponsor, by grammatically correcting its advertising slogan. Instead of saying "Winston tastes good like a cigarette should" verbatim, he substituted "as" for "like."
He was the lead broadcaster of the network's coverage of the 1960 Winter Olympics, the first-ever time such an event was televised in the United States. He replaced Jim McKay, who had suffered a mental breakdown.
Anchor of the CBS Evening News
On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.
During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored The Huntley–Brinkley Report. For much of the 1960s, The Huntley–Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley–Brinkley Report in viewership during the summer months.
In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 Moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981.
One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981.
Historic moments
Kennedy's assassination
Cronkite is vividly remembered for breaking the news of the assassination of John F. Kennedy on Friday, November 22, 1963. Cronkite had been standing at the United Press International wire machine in the CBS newsroom as the bulletin of the President's shooting broke and he clamored to get on the air to break the news as he wanted CBS to be the first network to do so.
There was a problem facing the crew in the newsroom, however. There was no television camera in the studio at the time as the technical crew was working on it. Eventually, the camera was retrieved and brought back to the newsroom. Because of the magnitude of the story and the continuous flow of information coming from various sources, time was of the essence but the camera would take at least twenty minutes to become operational under normal circumstances. The decision was made to dispatch Cronkite to the CBS Radio Network booth to report the events and play the audio over the television airwaves while the crew worked on the camera to see if they could get it set up quicker.
Meanwhile, CBS was ten minutes into its live broadcast of the soap opera As the World Turns (ATWT), which had begun at the very minute of the shooting. A "CBS News Bulletin" bumper slide abruptly broke into the broadcast at 1:40 pm EST. Over the slide, Cronkite began reading what would be the first of three audio-only bulletins that were filed in the next twenty minutes:
While Cronkite was reading this bulletin, a second one arrived, mentioning the severity of Kennedy's wounds:
Just before the bulletin cut out, a CBS News staffer was heard saying "Connally too," apparently having just heard the news that Texas Governor John Connally had also been shot while riding in the presidential limousine with his wife Nellie and Mr. and Mrs. Kennedy.
CBS then rejoined the telecast of ATWT during a commercial break, which was followed by show announcer Dan McCullough's usual fee plug for the first half of the program and the network's 1:45 pm station identification break. Just before the second half of ATWT was to begin, the network broke in with the bumper slide a second time. In this bulletin Cronkite reported in greater detail about the assassination attempt on the President, while also breaking the news of Governor Connally's shooting.
Cronkite then recapped the events as they had happened: that the President and Governor Connally had been shot and were in the emergency room at Parkland Hospital, and no one knew their condition as yet. CBS then decided to return to ATWT, which was now midway through its second segment.
The cast had continued to perform live while Cronkite's bulletins broke into the broadcast, unaware of the unfolding events in Dallas. ATWT then took another scheduled commercial break. The segment before the break would be the last anyone would see of any network's programming until Tuesday, November 26. During the commercial, the bumper slide interrupted the proceedings again and Cronkite updated the viewers on the situation in Dallas. This bulletin went into more detail than the other two, revealing that Kennedy had been shot in the head, Connally in the chest. Cronkite remained on the air for the next ten minutes, continuing to read bulletins as they were handed to him, and recapping the events as they were known. He also related a report given to reporters by Texas Congressman Albert Thomas that the President and Governor were still alive, the first indication of their condition. At 2:00 pm EST, with the top of the hour station break looming, Cronkite told the audience that there would be a brief pause so that all of CBS' affiliates, including those in the Mountain and Pacific time zones which were not on the same schedule, could join the network. He then left the radio booth and went to the anchor desk in the newsroom.
Within twenty seconds of the announcement, every CBS affiliate except Dallas' KRLD (which was providing local coverage) was airing the network's feed. The camera was finally operational by this time and enabled the audience to see Cronkite, who was clad in shirt and tie but without his suit coat, given the urgent nature of the story. Cronkite reminded the audience, again, of the attempt made on the life of the President and tossed to KRLD news director Eddie Barker at the Dallas Trade Mart, where Kennedy was supposed to be making a speech before he was shot. Barker relayed information that Kennedy's condition was extremely critical. Then, after a prayer for Kennedy, Barker quoted an unofficial report that the President was dead but stressed it was not confirmed.
After several minutes, the coverage came back to the CBS newsroom where Cronkite reported that the President had been given blood transfusions and two priests had been called into the room. He also played an audio report from KRLD that someone had been arrested in the assassination attempt at the Texas School Book Depository. Back in Dallas Barker announced another report of the death of the President, mentioning that it came from a reliable source. Before the network left KRLD's feed for good, Barker first announced, then retracted, a confirmation of Kennedy's death.
CBS cut back to Cronkite reporting that one of the priests had administered last rites to the president. In the next few minutes, several more bulletins reporting that Kennedy had died were given to Cronkite, including one from CBS's own correspondent Dan Rather that had been reported as confirmation of Kennedy's demise by CBS Radio. As these bulletins came into the newsroom, it was becoming clearer that Kennedy had in fact lost his life. Cronkite, however, stressed that these bulletins were simply reports and not any official confirmation of the President's condition; some of his colleagues recounted in 2013 that his early career as a wire service reporter taught him to wait for official word before reporting a story. Still, as more word came in, Cronkite seemed to be resigned to the fact that it was only a matter of time before the assassination was confirmed. He appeared to concede this when, several minutes after he received the Rather report, he received word that the two priests who gave the last rites to Kennedy told reporters on the scene that he was dead. Cronkite said that report "seems to be as close to official as we can get", but would not declare it as such. Nor did he do so with a report from Washington, DC that came moments later, which said that government sources were now reporting the President was dead (this information was passed on to ABC as well, which took it as official confirmation and reported it as such; NBC did not report this information at all and chose instead to rely on reports from Charles Murphy and Robert MacNeil to confirm their suspicions).
At 2:38 pm EST, while filling in time with some observations about the security presence in Dallas, which had been increased due to violent acts against United Nations Ambassador Adlai Stevenson in the city earlier that year, Cronkite was handed a new bulletin. After looking it over for a moment, he took off his glasses, and made the official announcement:
After making that announcement, Cronkite paused briefly, put his glasses back on, and swallowed hard to maintain his composure. With noticeable emotion in his voice he intoned the next sentence of the news report:
With emotion still in his voice and eyes watering, Cronkite once again recapped the events after collecting himself, incorporating some wire photos of the visit and explaining the significance of the pictures now that Kennedy was dead. He reminded the viewers that Vice President Johnson was now the President and was to be sworn in, that Governor Connally's condition was still unknown, and that there was no report of whether the assassin had been captured. He then handed the anchor position to Charles Collingwood, who had just entered the newsroom, took his suit coat, and left the room for a while.
At about 3:30 pm EST, Cronkite came back into the newsroom to relay some new information. The two major pieces of information involved the Oath of Office being administered to now-President Johnson, which officially made him the thirty-sixth President, and that Dallas police had arrested a man named Lee Harvey Oswald whom they suspected had fired the fatal shots. After that, Cronkite left again to begin preparing for that night's CBS Evening News, which he returned to anchor as normal. For the next four days, along with his colleagues, Cronkite continued to report segments of uninterrupted coverage of the assassination, including the announcement of Oswald's death in the hands of Jack Ruby on Sunday. The next day, on the day of the funeral, Cronkite concluded CBS Evening News with the following assessment about the events of the last four dark days:
Referring to his coverage of Kennedy's assassination, in a 2006 TV interview with Nick Clooney, Cronkite recalled,
In a 2003 CBS special commemorating the 40th anniversary of the assassination, Cronkite recalled his reaction upon having the death confirmed to him, he said,
According to historian Douglas Brinkley, Cronkite provided a sense of perspective throughout the unfolding sequence of disturbing events.
Vietnam War
In mid-February 1968, on the urging of his executive producer Ernest Leiser, Cronkite and Leiser journeyed to Vietnam to cover the aftermath of the Tet Offensive. They were invited to dine with General Creighton Abrams, the commander of all forces in Vietnam, whom Cronkite knew from World War II. According to Leiser, Abrams told Cronkite, "we cannot win this Goddamned war, and we ought to find a dignified way out."
Upon return, Cronkite and Leiser wrote separate editorial reports based on that trip. Cronkite, an excellent writer, preferred Leiser's text over his own. On February 27, 1968, Cronkite closed "Report from Vietnam: Who, What, When, Where, Why?" with that editorial report:
Following Cronkite's editorial report, President Lyndon B. Johnson is claimed by some to have said, "If I've lost Cronkite, I've lost Middle America." However, this account of Johnson has been questioned by other observers in books on journalistic accuracy. At the time the editorial aired, Johnson was in Austin, Texas, attending Texas Governor John Connally's birthday gala and was giving a speech in his honor.
In his book This Just In: What I Couldn't Tell You on TV, CBS News correspondent Bob Schieffer, who was serving as a reporter for the Fort Worth Star-Telegram when Cronkite's editorial aired, acknowledged that Johnson did not see the original broadcast but also defended the allegation that Johnson had made the remark. According to Schieffer, Johnson's aide George Christian "told me that the President apparently saw some clips of it the next day" and that "That's when he made the remark about Cronkite. But he knew then that it would take more than Americans were willing to give it." When asked about the remark during a 1979 interview, Christian claimed he had no recollection about what the President had said. In his 1996 memoir A Reporter's Life, Cronkite claimed he was at first unsure about how much of an impact his editorial report had on Johnson's decision to drop his bid for re-election, and what eventually convinced him the President had made the statement was a recount from Bill Moyers, a journalist and former aide to Johnson.
Several weeks later, Johnson, who sought to preserve his legacy and was now convinced his declining health could not withstand growing public criticism, announced he would not seek reelection.
During the 1968 Democratic National Convention in Chicago, Cronkite was anchoring the CBS network coverage as violence and protests occurred outside the convention, as well as scuffles inside the convention hall. When Dan Rather was punched to the floor (on camera) by security personnel, Cronkite commented, "I think we've got a bunch of thugs here, Dan."
Other historic events
The first publicly transmitted live trans-Atlantic program was broadcast via the Telstar satellite on July 23, 1962, at 3:00 pm EDT, and Cronkite was one of the main presenters in this multinational broadcast. The broadcast was made possible in Europe by Eurovision and in North America by NBC, CBS, ABC, and the CBC. The first public broadcast featured CBS's Cronkite and NBC's Chet Huntley in New York, and the BBC's Richard Dimbleby in Brussels. Cronkite was in the New York studio at Rockefeller Plaza as the first pictures to be transmitted and received were the Statue of Liberty in New York and the Eiffel Tower in Paris. The first segment included a televised major league baseball game between the Philadelphia Phillies and the Chicago Cubs at Wrigley Field. From there, the video switched first to Washington, D.C.; then to Cape Canaveral, Florida; then to Quebec City, Quebec, and finally to Stratford, Ontario. The Washington segment included a press conference with President Kennedy, talking about the price of the American dollar, which was causing concern in Europe. This broadcast inaugurated live intercontinental news coverage, which was perfected later in the sixties with Early Bird and other Intelsat satellites.
General of the Army Dwight D. Eisenhower returned to his former Supreme Headquarters Allied Expeditionary Force (SHAEF) headquarters for an interview by Cronkite on the CBS News Special Report D-Day + 20, telecast on June 6, 1964.
Cronkite is also remembered for his coverage of the United States space program, and at times was visibly enthusiastic, rubbing his hands together on camera with a smile and uttering, "Whew...boy" on July 20, 1969, when the Apollo 11 lunar landing mission put the first men on the Moon.
Cronkite participated in Richard Nixon's 1972 visit to China. Because Cronkite was colorblind, he had to ask others what color of coat First Lady Pat Nixon was wearing when they disembarked in Peking (Beijing).
According to the 2006 PBS documentary on Cronkite, there was "nothing new" in his reports on the Watergate affair; however, Cronkite brought together a wide range of reporting, and his credibility and status is credited by many with pushing the Watergate story to the forefront with the American public, ultimately resulting in the resignation of President Richard M. Nixon on August 9, 1974. Cronkite had anchored the CBS coverage of Nixon's address, announcing his impending resignation, the night before.
The January 22, 1973, broadcast of the CBS Evening News saw Cronkite break the news of the death of another notable American political figure: former president Lyndon B. Johnson. At approximately 6:38 pm Eastern Time, while a pre-recorded report that the Vietnam peace talks in Paris had been successful was being played for the audience, Cronkite received a telephone call in the studio while off camera. The call was from Tom Johnson, the former press secretary for President Johnson who was at the time serving the former chief executive as station manager at KTBC-TV in Austin, Texas, which was affiliated with CBS at the time and was owned by the Johnson family. During the conversation the production staff cut away from the report back to the live camera in studio as Cronkite was still on the phone. After he was made aware that he was back on camera, Cronkite held up a finger to let everyone watching know he required a moment to let Johnson finish talking. Once Cronkite got what he needed, he thanked Johnson and asked him to stay on the line. He then turned to the camera and began to relay what Johnson had said to him.
During the final ten minutes of that broadcast, Cronkite reported on the death, giving a retrospective on the life of the nation's 36th president, and announced that CBS would air a special on Johnson later that evening. This story was re-told on a 2007 CBS-TV special honoring Cronkite's 90th birthday.
NBC-TV's Garrick Utley, anchoring NBC Nightly News that evening, also interrupted his newscast in order to break the story, doing so about three minutes after Cronkite on CBS. The news was not reported on that night's ABC Evening News, which was anchored by Howard K. Smith and Harry Reasoner, because ABC at the time fed their newscast live at 6:00 pm Eastern instead of 6:30 to get a head start on CBS and NBC for those stations that aired ABC Evening News live (although not every affiliate did).
On November 22, 1963, Cronkite introduced The Beatles to the United States by airing a four-minute story about the band on CBS Morning News. The story was scheduled to be shown again on the CBS Evening News that same day, but the assassination of John F. Kennedy prevented the broadcast of the regular evening news. The Beatles story was aired on the evening news program on December 10.
Retirement
On February 14, 1980, Cronkite announced that he intended to retire from the CBS Evening News; at the time, CBS had a policy of mandatory retirement by age 65. Although sometimes compared to a father figure or an uncle figure, in an interview about his retirement he described himself as being more like a "comfortable old shoe" to his audience. His last day in the anchor chair at the CBS Evening News was on March 6, 1981; he was succeeded the following Monday by Dan Rather.
Cronkite's farewell statement:
On the eve of Cronkite's retirement, he appeared on The Tonight Show hosted by Johnny Carson. The following night, Carson did a comic spoof of his on-air farewell address.
Other activities
Post-CBS Evening News
As he had promised on his last show as anchor in 1981, Cronkite continued to broadcast occasionally as a special correspondent for CBS, CNN, and NPR into the 21st century; one such occasion was Cronkite anchoring the second space flight by John Glenn in 1998 as he had Glenn's first in 1962. Cronkite hosted Universe until its cancellation in 1982. In 1983, he reported on the British general election for the ITV current affairs series World In Action, interviewing, among many others, the victorious Prime Minister, Margaret Thatcher. Cronkite hosted the annual Vienna New Year's Concert on PBS from 1985 to 2008, succeeded by Julie Andrews in 2009. For many years, until 2002, he was also the host of the annual Kennedy Center Honors.
In 1998, Cronkite hosted the 90-minute documentary, Silicon Valley: A 100 Year Renaissance, produced by the Santa Clara Valley Historical Association. The film documented Silicon Valley's rise from the origin of Stanford University to the current high-technology powerhouse. The documentary was broadcast on PBS throughout the United States and in 26 countries. Prior to 2004, he could also be seen in the opening movie "Back to Neverland" shown in the Walt Disney World attraction The Magic of Disney Animation, interviewing Robin Williams as if he is still on the CBS News channel, ending his on-camera time with Cronkite's famous catchphrase. In the feature, Cronkite describes the steps taken in the creation of an animated film, while Williams becomes an animated character (and even becomes Cronkite, impersonating his voice). He also was shown inviting Disney guests and tourists to the Disney Classics Theater.
On May 21, 1999, Cronkite participated in a panel discussion on "Integrity in the Media" with Ben Bradlee and Mike McCurry at the Connecticut Forum in Hartford, Connecticut. Cronkite provided an anecdote about taking a picture from a house in Houston, Texas, where a newsworthy event occurred and being praised for getting a unique photograph, only to find out later that the city desk had provided him with the wrong address.
Voice-overs
Cronkite narrated the IMAX film about the Space Shuttle, The Dream is Alive, released in 1985. From May 26, 1986, to August 15, 1994, he was the narrator's voice in the EPCOT Center attraction Spaceship Earth, at Walt Disney World in Orlando, Florida. He provided the pivotal voice of Captain Neweyes in the 1993 animated film We're Back: A Dinosaur's Story, delivering his trademark line at the end. In 1995, he made an appearance on Broadway, providing the voice of the titular book in the 1995 revival of How to Succeed in Business Without Really Trying.
Cronkite was a finalist for NASA's Journalist in Space program, which mirrored the Teacher in Space Project, an opportunity that was suspended after the Challenger disaster in 1986. He recorded voice-overs for the 1995 film Apollo 13, modifying the script he was given to make it more "Cronkitian." In 2002, Cronkite was the voice of Benjamin Franklin in the educational television cartoon Liberty's Kids, which included a news segment ending with the same phrase he did back on the CBS Evening News. This role earned him Daytime Emmy nominations for Outstanding Performer in a Children's Series, in 2003 and 2004, but he did not win. His distinctive voice provided the narration for the television ads of the University of Texas, Austin, his alma mater, with its 'We're Texas' ad campaign.
He held amateur radio operator license KB2GSD and narrated a 2003 American Radio Relay League documentary explaining amateur radio's role in disaster relief. The video tells Amateur Radio's public service story to non-hams, focusing on ham radio's part in helping various agencies respond to wildfires in the Western US during 2002, ham radio in space and the role Amateur Radio plays in emergency communications. "Dozens of radio amateurs helped the police and fire departments and other emergency services maintain communications in New York, Pennsylvania and Washington, DC," narrator Cronkite intoned in reference to ham radio's response to the terrorist attacks on September 11, 2001. Unusually, Cronkite was a Novice-class licensee—the entry level license—for his entire, and long, tenure in the hobby.
On February 15, 2005, he went into the studio at CBS to record narration for WCC Chatham Radio, a documentary about Guglielmo Marconi and his Chatham station, which became the busiest ship-to-shore wireless station in North America from 1914 to 1994. The documentary was directed by Christopher Seufert of Mooncusser Films and premiered at the Chatham Marconi Maritime Center in April 2005. In 2006, Cronkite hosted the World War One Living History Project, a program honoring America's final handful of veterans from the First World War. The program was created by Treehouse Productions and aired on NPR on November 11, 2006. In May 2009, Legacy of War, produced by PBS, was released. Cronkite chronicles, over archive footage, the events following World War II that resulted in America's rise as the dominant world power.
Prior to his death, "Uncle Walter" hosted a number of TV specials and was featured in interviews about the times and events that occurred during his career as America's "most trusted" man. In July 2006, the 90-minute documentary Walter Cronkite: Witness to History aired on PBS. The special was narrated by Katie Couric, who assumed the CBS Evening News anchor chair in September 2006. Cronkite provided the voiceover introduction to Couric's CBS Evening News, which began on September 5, 2006. Cronkite's voiceover was notably not used on introducing the broadcast reporting his funeral – no voiceover was used on this occasion.
TV and movie appearances
Cronkite made a cameo appearance on a 1974 episode of The Mary Tyler Moore Show, in which he met with Lou Grant in his office. Ted Baxter, who at first tried to convince Cronkite that he (Baxter) was as good a newsman as Eric Sevareid, pleaded with Cronkite to hire him for the network news, at least to give sport scores, and gave an example: "The North Stars 3, the Kings Oh!" Cronkite turned to Grant and said, "I'm gonna get you for this!" Cronkite later said that he was disappointed that his scene was filmed in one take, since he had hoped to sit down and chat with the cast.
In the late 1980s and again in the 1990s, Cronkite appeared on the news-oriented situation comedy Murphy Brown as himself. Both episodes were written by the Emmy Award-winning team of Tom Seeley and Norm Gunzenhauser. He also continued hosting a variety of series. In the early 1980s, he was host of the documentary series World War II with Walter Cronkite. In 1991, he hosted the TV documentary Dinosaur! on A&E (not related to the documentary of the same title hosted by Christopher Reeve on CBS six years earlier), and a 1994 follow-up series, Ape Man: The Story of Human Evolution. In 1995, he narrated the World Liberty Concert held in the Netherlands.
Cronkite routinely hosted the Kennedy Center Honors from 1981 to 2002.
Cronkite appeared briefly in the 2005 dramatic documentary The American Ruling Class written by Lewis Lapham; the 2000 film Thirteen Days reporting on the Cuban Missile Crisis; and provided the opening synopsis of the American Space Program leading to the events in Apollo 13 for the 1995 Ron Howard film of the same name.
Political activism
Cronkite wrote a syndicated opinion column for King Features Syndicate. In 2005 and 2006, he contributed to The Huffington Post. Cronkite was the honorary chairman of The Interfaith Alliance. In 2006, he presented the Walter Cronkite Faith and Freedom Award to actor and activist George Clooney on behalf of his organization at its annual dinner in New York.
Cronkite was a vocal advocate for free airtime for political candidates. He worked with the Alliance for Better Campaigns and Common Cause, for instance, on an unsuccessful lobbying effort to have an amendment added to the McCain-Feingold-Shays-Meehan Campaign Finance Reform Act of 2001 that would have required TV broadcast companies to provide free airtime to candidates. Cronkite criticized the present system of campaign finance which allows elections to "be purchased" by special interests, and he noted that all the European democracies "provide their candidates with extensive free airtime." "In fact," Cronkite pointed out, "of all the major nations worldwide that profess to have democracies, only seven – just seven – do not offer free airtime" This put the United States on a list with Ecuador, Honduras, Malaysia, Taiwan, Tanzania, and Trinidad and Tobago. Cronkite concluded that "The failure to give free airtime for our political campaigns endangers our democracy." During the elections held in 2000, the amount spent by candidates in the major TV markets approached $1 billion. "What our campaign asks is that the television industry yield just a tiny percentage of that windfall, less than 1 percent, to fund free airtime."
He was a member of the Constitution Project's bipartisan Liberty and Security Committee. He also supported the nonprofit world hunger organization Heifer International.
In 1998, he supported President Bill Clinton during Clinton's impeachment trial. He was also a proponent of limited world government on the American federalist model, writing fundraising letters for the World Federalist Association (now Citizens for Global Solutions). In accepting the 1999 Norman Cousins Global Governance Award at the ceremony at the United Nations, Cronkite said:
It seems to many of us that if we are to avoid the eventual catastrophic world conflict we must strengthen the United Nations as a first step toward a world government patterned after our own government with a legislature, executive and judiciary, and police to enforce its international laws and keep the peace. To do that, of course, we Americans will have to yield up some of our sovereignty. That would be a bitter pill. It would take a lot of courage, a lot of faith in the new order. But the American colonies did it once and brought forth one of the most nearly perfect unions the world has ever seen.
Cronkite contrasted his support for accountable global government with the opposition to it by politically active Christian fundamentalists in the United States:
Even as with the American rejection of the League of Nations, our failure to live up to our obligations to the United Nations is led by a handful of willful senators who choose to pursue their narrow, selfish political objectives at the cost of our nation's conscience. They pander to and are supported by the Christian Coalition and the rest of the religious right wing. Their leader, Pat Robertson, has written that we should have a world government but only when the messiah arrives. Any attempt to achieve world order before that time must be the work of the Devil! Well join me... I'm glad to sit here at the right hand of Satan.
In 2003, Cronkite, who owned property on Martha's Vineyard, became involved in a long-running debate over his opposition to the construction of a wind farm in that area. In his column, he repeatedly condemned President George W. Bush and the 2003 invasion of Iraq. Cronkite appeared in the 2004 Robert Greenwald film Outfoxed, where he offered commentary on what he said were unethical and overtly political practices at the Fox News Channel. Cronkite remarked that when Fox News was founded by Rupert Murdoch, "it was intended to be a conservative organization – beyond that; a far-right-wing organization". In January 2006, during a press conference to promote the PBS documentary about his career, Cronkite said that he felt the same way about America's presence in Iraq as he had about their presence in Vietnam in 1968 and that he felt America should recall its troops.
Cronkite spoke out against the War on Drugs in support of the Drug Policy Alliance, writing a fundraising letter and appearing in advertisements on behalf of the DPA. In the letter, Cronkite wrote: "Today, our nation is fighting two wars: one abroad and one at home. While the war in Iraq is in the headlines, the other war is still being fought on our own streets. Its casualties are the wasted lives of our own citizens. I am speaking of the war on drugs. And I cannot help but wonder how many more lives, and how much more money, will be wasted before another Robert McNamara admits what is plain for all to see: the war on drugs is a failure."
Personal life
Cronkite was married for nearly 65 years to Mary Elizabeth 'Betsy' Maxwell Cronkite, from March 30, 1940, until her death from cancer on March 15, 2005. They had three children: Nancy Cronkite, Mary Kathleen (Kathy) Cronkite, and Walter Leland (Chip) Cronkite III (who is married to actress Deborah Rush). Cronkite dated singer Joanna Simon from 2005 to 2009.
A grandson, Walter Cronkite IV, now works at CBS. Cronkite's cousin is former Mayor of Kansas City and 2008 Democratic nominee for Missouri's 6th congressional district Kay Barnes.
Cronkite was an accomplished sailor and enjoyed sailing coastal waters of the United States in his custom-built 48-foot Sunward "Wyntje". Cronkite was a member of the United States Coast Guard Auxiliary, with the honorary rank of commodore. Throughout the 1950s, he was an aspiring sports car racer, even racing in the 1959 12 Hours of Sebring.
Cronkite was reported to be a fan of the game Diplomacy, which was rumored to be Henry Kissinger's favorite game.
Death
In June 2009, Cronkite was reported to be terminally ill. He died on July 17, 2009, at his home in New York City aged 92. He is believed to have died from cerebrovascular disease.
Cronkite's funeral took place on July 23, 2009, at St. Bartholomew's Church in midtown Manhattan, New York City. Among many journalists who attended were Tom Brokaw, Connie Chung, Katie Couric, Charles Gibson, Matt Lauer, Dan Rather, Andy Rooney, Morley Safer, Diane Sawyer, Bob Schieffer, Meredith Vieira, Barbara Walters, and Brian Williams. At his funeral, his friends noted his love of music, including, recently, drumming. He was cremated and his remains buried next to his wife, Betsy, in the family plot in Kansas City.
Legacy
Public credibility and trustworthiness
For many years, until a decade after he left his post as anchor, Cronkite was considered one of the most trusted figures in the United States. For most of his 19 years as anchor, he was the "predominant news voice in America." Affectionately known as "Uncle Walter," he covered many of the important news events of the era so effectively that his image and voice are closely associated with the Cuban Missile Crisis, the assassination of President John F. Kennedy, the Vietnam War, the Apollo 11 Moon landing, and the Watergate scandal. USA Today wrote that "few TV figures have ever had as much power as Cronkite did at his height." Enjoying the cult of personality surrounding Cronkite in those years, CBS allowed some good-natured fun-poking at its star anchorman in some episodes of the network's popular situation comedy All in the Family, during which the lead character Archie Bunker would sometimes complain about the newsman, calling him "Pinko Cronkite."
Cronkite trained himself to speak at a rate of 124 words per minute in his newscasts, so that viewers could clearly understand him. In contrast, Americans average about 165 words per minute, and fast, difficult-to-understand talkers speak close to 200 words per minute.
Awards and honors
In 1968, the faculty of the E. W. Scripps School of Journalism at Ohio University voted to award Cronkite the Carr Van Anda Award "for enduring contributions to journalism." In 1970, Cronkite received a "Freedom of the Press" George Polk Award and the Paul White Award from the Radio Television Digital News Association.
In 1972, in recognition of his career, Princeton University's American Whig-Cliosophic Society awarded Cronkite the James Madison Award for Distinguished Public Service.
In 1981, the year he retired, former president Jimmy Carter awarded Cronkite the Presidential Medal of Freedom. In that year, he also received the S. Roger Horchow Award for Greatest Public Service by a Private Citizen, an award given out annually by Jefferson Awards, and the Paul White Award for lifetime achievement from the Radio Television Digital News Association. In 1985, Cronkite was honored with the induction into the Academy of Television Arts and Sciences Hall of Fame. In 1989 he received the Four Freedoms Award for the Freedom of Speech. He was elected to the American Philosophical Society in 1994. In 1995, he received the Ischia International Journalism Award. In 1999, Cronkite received the Rotary National Award for Space Achievement's Corona Award in recognition of a lifetime of achievement in space exploration. He was elected a Fellow of the American Academy of Arts and Sciences in 2003. On March 1, 2006, Cronkite became the first non-astronaut to receive NASA's Ambassador of Exploration Award. Among Cronkite's numerous awards were four Peabody awards for excellence in broadcasting.
In 2003, Cronkite was honored by the Vienna Philharmonic with the Franz Schalk Gold Medal, in view of his contributions to the New Year's Concert and the cultural image of Austria.
Minor planet 6318 Cronkite, discovered in 1990 by Eleanor Helin is named in his honor.
Cronkite School at Arizona State University
A few years after Cronkite retired, Tom Chauncey, a former owner of KOOL-TV, the then-CBS affiliate in Phoenix, contacted Cronkite, an old friend, and asked him if he would be willing to have the journalism school at Arizona State University named after him. Cronkite immediately agreed. The ASU program acquired status and respect from its namesake.
Cronkite was not just a namesake, but he also took the time to interact with the students and staff of the Walter Cronkite School of Journalism and Mass Communication. Cronkite made the trip to Arizona annually to present the Walter Cronkite Award for Excellence in Journalism to a leader in the field of media.
"The values that Mr. Cronkite embodies – excellence, integrity, accuracy, fairness, objectivity – we try to instill in our students each and every day. There is no better role model for our faculty or our students," said Dean Christopher Callahan.
The school, with approximately 1,700 students, is widely regarded as one of the top journalism schools in the country. It is housed in a new facility in downtown Phoenix that is equipped with 14 digital newsrooms and computer labs, two TV studios, 280 digital student work stations, the Cronkite Theater, the First Amendment Forum, and new technology. The school's students regularly finish at the top of national collegiate journalism competitions, such as the Hearst Journalism Awards program and the Society of Professional Journalists Mark of Excellence Awards. In 2009, students won the Robert F. Kennedy Journalism Award for college print reporting.
In 2008, the state-of-the-art journalism education complex in the heart of ASU's Downtown Phoenix campus was also built in his honor. The Walter Cronkite Regents Chair in Communication seats the Texas College of Communications dean.
Walter Cronkite Papers
The Walter Cronkite papers are preserved at the curatorial Dolph Briscoe Center for American History at the University of Texas at Austin. Occupying 293 linear feet (almost 90 metres) of shelf space, the papers document Cronkite's journalism career. Amongst the collected material are Cronkite's early beginnings while he still lived in Houston. They encompass his coverage of World War II as a United Press International correspondent, where he cemented his reputation by taking on hazardous overseas assignments. During this time he also covered the Nuremberg war crimes trial serving as the chief of the United Press bureau in Moscow. The main content of the papers documents Cronkite's career with CBS News between 1950 and 1981.
The Cronkite Papers assemble a variety of interviews with U.S. presidents, including Herbert Hoover, Harry Truman, and Ronald Reagan. President Lyndon Johnson requested a special interview with Cronkite while he was broadcasting live on CBS.
Between 1990 and 1993, Don Carleton, executive director for the Center for American History, assisted Cronkite as he compiled an oral history to write his autobiography, A Reporter's Life, which was published in 1996. The taped memoirs became an integral part of an eight-part television series Cronkite Remembers, which was shown on the Discovery Channel.
As a newsman, Cronkite devoted his attention to the early days of the space program, and the "space race" between the United States and the Soviet Union. The National Aeronautics and Space Administration honored Cronkite on February 28, 2006. Michael Coats, director of NASA's Lyndon B. Johnson Space Center in Houston, presented Cronkite with the Ambassador of Exploration Award. Cronkite was the first non-astronaut thus honored.
NASA presented Cronkite with a Moon rock sample from the early Apollo expeditions spanning 1969 to 1972. Cronkite passed on the Moon rock to Bill Powers, president of the University of Texas at Austin, and it became part of the collection at the Dolph Briscoe Center for American History. Carleton said at this occasion, "We are deeply honored by Walter Cronkite's decision to entrust this prestigious award to the Center for American History. The Center already serves as the proud steward of his professional and personal papers, which include his coverage of the space program for CBS News. It is especially fitting that the archive documenting Walter's distinguished career should also include one of the moon rocks that the heroic astronauts of the Apollo program brought to Earth."
Memorial at Missouri Western State University
On November 4, 2013, Missouri Western State University in St. Joseph, Missouri, dedicated the Walter Cronkite Memorial. The nearly 6,000 square-foot memorial includes images, videos and memorabilia from Cronkite's life and the many events he covered as a journalist. The memorial includes a replica of the newsroom from which Cronkite broadcast the news during the 1960s and 1970s. In 2014, the Memorial received the Missouri Division of Tourism's Spotlight Award.
Books
The Challenges of Change (1971). Washington: Public Affairs Press. .
Eye on the World (1971). New York: Cowles Book Co. .
A Reporter's Life (1996). New York: Alfred A. Knopf. .
See also
New Yorkers in journalism
Walter Cronkite School of Journalism and Mass Communication
References
Further reading
Menand, Louis, "Seeing It Now: Walter Cronkite and the legend of CBS News", The New Yorker, July 9, 2012
External links
"Walter Cronkite, 92, Dies; Trusted Voice of TV News", The New York Times (July 17, 2009)
The Walter Cronkite Papers at the University of Texas at Austin
FBI Records: The Vault - Walter Leland Cronkite at vault.fbi.gov
1916 births
2009 deaths
20th-century American journalists
American male journalists
60 Minutes correspondents
Amateur radio people
American broadcast news analysts
American game show hosts
American television news anchors
American television reporters and correspondents
CBS News people
Drug policy reform activists
Fellows of the American Academy of Arts and Sciences
Journalists from Houston
Oklahoma Sooners football announcers
Peabody Award winners
People from St. Joseph, Missouri
Presidential Medal of Freedom recipients
San Jacinto High School alumni
Space advocates
Moody College of Communication alumni
American war correspondents of the Vietnam War
American war correspondents of World War II
20th-century American Episcopalians
Recipients of Ischia International Journalism Award
Members of the American Philosophical Society
United States Coast Guard Auxiliary officers
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"Jeffrey Todd Glor (born July 12, 1975) is an American journalist, co-host of CBS Saturday Morning and a CBS News special correspondent. He had previously anchored the CBS Evening News from 2017 to 2019.\n\nEarly life and education\nGlor was born in Buffalo, New York, where he attended Kenmore East High School, a public high school in his hometown of Tonawanda, New York. He graduated from Syracuse University in 1997 with dual degrees in journalism (from the S.I. Newhouse School of Public Communications) and economics. At Syracuse, he was awarded the Henry J. Wolff prize, given to the Newhouse student \"most proficient in journalism.”\n\nLife and career\nGlor was co-anchor of WSTM-TV Syracuse's 5 p.m. newscast and a reporter for the 11 p.m. newscast (2000–2003). He was the morning news anchor from 1997 to 2000. He joined WSTM as a part-time producer while still attending college. Glor was named \"Best Male News Anchor\" by Syracuse New Times and one of the 40 most promising professionals under the age of 40. Glor was a contributing researcher and writer on The Legal Handbook for N.Y. State Journalists. He served as weekend evening news anchor and weekday reporter for WHDH in Boston from 2003 to 2007.\n\nHe joined CBS News in 2007 as co-anchor, and later newsreader, on the Saturday Early Show. He also reported primarily for the weekday version of The Early Show, including an extended period in Iraq, China, and on the presidential campaign in 2008. From 2008 rotating with Russ Mitchell until 2009 to 2010, he anchored the CBS Saturday Evening News. Also in 2009, he began to report for other broadcasts, including the CBS Evening News and CBS Sunday Morning, for which he won an Emmy.\n\nHe served as news anchor for The Early Show from January 2011 to January 2012. Following that in 2012, he anchored the Saturday edition of the newly launched CBS This Morning, the successor to The Early Show, and also began to focus reporting on long-form stories as a correspondent for CBS This Morning. From 2012 to 2016, he anchored the CBS Sunday Evening News, and from 2013 to 2014, he was the correspondent on extended investigations for the CBS Evening News, including recalls at General Motors and Takata. In 2015 and 2016, he contributed a wide range of stories to 60 Minutes Sports. He also began filling in for Charlie Rose on his eponymous show on PBS.\n\nOn October 25, 2017, CBS announced that Glor would become the new permanent anchor for the CBS Evening News in late 2017, replacing Scott Pelley, who left the position in June 2017. (Anthony Mason had been anchoring the program on an interim basis after Pelley's departure.) Glor became the new permanent weekday anchor of the CBS Evening News on December 4, 2017.\n\nIn December 2017, Glor interviewed French President Emmanuel Macron at the One Planet Summit in Paris, following Donald Trump's decision to pull the U.S. out of the 2015 Paris Accords. That night he broadcast the Evening News live from the Élysée Palace, a first for any American network.\n\nOn May 29, 2018, the CBS Evening News with Jeff Glor revived the in-depth segment \"Eye on America\", first launched by CBS News in 1991. Produced by domestic news bureaus, the immersive reports focus on key issues such as the role of teachers in the age of mass shootings, sanctuary cities, opioid addiction, and more.\n\nOn May 6, 2019, Susan Zirinsky, president of CBS News, announced that, beginning in the summer, Norah O'Donnell would be the new anchor and managing editor of the CBS Evening News and that the network was \"discussing opportunities\" for Glor to remain at CBS News. His last broadcast of the CBS Evening News was May 10, 2019, whereupon he wished O'Donnell \"the best of luck\" and paid tribute to the behind-the-scenes team by running full staff credits. Rotating series of anchors anchored on an interim basis.\n\nStarting June 22, 2019, Glor joined Dana Jacobson and Michelle Miller as co-host of CBS This Morning: Saturday, later retitled CBS Saturday Morning, and is also serving as a CBS News special correspondent reporting feature stories and investigative reports for the network.\n\nPersonal life\nA fan of the Buffalo Bills, on August 30, 2011, he interviewed the former Bills head coach Marv Levy on The Early Show.\n\nGlor and his wife, Nicole (née Glab), a fitness instructor and former college cheerleader, whom he met at Syracuse University, live in Greenwich, Connecticut and have two children: a son and a daughter. Glor's brother, Richard, is an expert on lizard evolution and is the Curator of Herpetology at the Kansas University Biodiversity Institute and Museum of Natural History.\n\nSee also\n New Yorkers in journalism\n\nReferences\n\nExternal links\n\n1975 births\nLiving people\nTelevision personalities from Buffalo, New York\nPeople from Tonawanda, New York\nAmerican reporters and correspondents\nAmerican television news anchors\nS. I. Newhouse School of Public Communications alumni\nNews & Documentary Emmy Award winners\nAmerican male journalists\nCBS News people\nJournalists from New York (state)",
"The CBS Evening News is the flagship evening television news program of CBS News, the news division of the CBS television network in the United States. The CBS Evening News is a daily evening broadcast featuring news reports, feature stories and interviews by CBS News correspondents and reporters covering events around the world. The program has been broadcast since July 1, 1941, under the original title CBS Television News, eventually adopting its current title in 1963.\n\nSince July 15, 2019, the nightly broadcast has been anchored by Norah O'Donnell and has been titled CBS Evening News with Norah O’Donnell; since December 2, 2019, the newscast has emanated from CBS News’ bureau in Washington, D.C. Previous weeknight anchors have included Douglas Edwards, Walter Cronkite, Dan Rather, Connie Chung, Bob Schieffer, Katie Couric, Scott Pelley, and Jeff Glor.\n\nSaturday and Sunday broadcasts of the CBS Evening News began in February 1966. On May 2, 2016, CBS announced that the weekend edition would be rebranded, effective May 7, 2016, as the CBS Weekend News. Weekend newscasts emanate from the CBS Broadcast Center in New York City and were anchored by Reena Ninan on Saturday and Elaine Quijano on Sunday. By the summer of 2020 Ninan and Quijano were replaced by Major Garrett and Jamie Yuccas. In December 2020, it was announced that Adriana Diaz and Jericka Duncan would be the new weekend anchors.\n\nThe weeknight edition of the CBS Evening News airs live at 6:30 p.m. in the Eastern and 5:30 p.m. in the Central Time Zones and is tape delayed for the Mountain Time Zone. A \"Western Edition\", with updated segments covering breaking news stories, airs pre-recorded at 6:30 p.m. in the Pacific Time Zone and on tape delay in the Alaska and Hawaii–Aleutian Time Zones.\n\nAs of March 4, 2019, CBS Evening News remains in third place of the three major television news programs, with 6,309,000 total viewers.\n\nHistory\n\nEarly years (1941–1948)\nUpon becoming commercial station WCBW (channel 2, now WCBS-TV) on July 1, 1941, the pioneer CBS television station in New York City broadcast two daily news programs, at 2:30 p.m. and 8:00 p.m. weekdays, anchored by Richard Hubbell. Most of the newscasts featured Hubbell reading a script with only occasional cutaways to a map or still photograph. When Pearl Harbor was bombed on December 7, 1941, WCBW (which was usually off the air on Sunday to give the engineers a day off), took to the air at 8:45 p.m. with an extensive special report. The national emergency broke down the unspoken wall between CBS radio and television. WCBW executives convinced radio announcers and experts such as George Fielding Elliot and Linton Wells to come to the CBS television studios at Grand Central Station from the radio network's base at 485 Madison Avenue, to give information and commentary on the attack. The WCBW special report that night lasted less than 90 minutes, but it pushed the limits of live television in 1941 and opened up new possibilities for future broadcasts. As CBS wrote in a special report to the FCC, the unscheduled live news broadcast on December 7 \"was unquestionably the most stimulating challenge and marked the greatest advance of any single problem faced up to that time.\"\n\nAdditional newscasts were scheduled in the early days of the war, including World This Week (February–April 1942), War Backgrounds (December 1941–February 1942), and America At War (March–May 1942). In May 1942, WCBW (like almost all television stations) temporarily suspended studio operations, which resulted in the station sharply cutting back its live program schedule, and resorting exclusively to the occasional broadcast of films. This was primarily because much of the staff had either joined the military service or were redeployed to war-related technical research, and to prolong the life of the early, unstable cameras which were now impossible to repair due to the wartime lack of parts.\n\nIn May 1944, as the war began to turn in favor of the Allies, WCBW reopened the studios and the newscasts returned, briefly anchored by Ned Calmer, followed by Alan Jackson, Everett Holles, and Dwight Cooke. After the war, expanded news programs appeared on the WCBW schedule. The station's call letters were changed to WCBS-TV in 1946. Anchors included Bob McKee, Milo Boulton, Jim McMullin, Larry LeSueur, Tom O’Connor, and, beginning in 1947, Douglas Edwards.\n\nDouglas Edwards (1948–1962)\n\nOn May 3, 1948, Edwards began anchoring CBS Television News, a regular 15-minute nightly newscast on the CBS television network, including WCBS-TV. It aired every weeknight at 7:30 p.m., and was the first regularly scheduled, network television news program featuring an anchor. (WCBW/WCBS-TV newscasts prior to this time were local television broadcasts seen only in New York City.) NBC's offering at the time, NBC Television Newsreel, which premiered in February 1948, was simply film footage with voice narration.\n\nThe network also broadcast a recap of the week's news stories on a Sunday night program titled Newsweek in Review, which was later moved to Saturday and retitled The Week in Review. In 1950, the nightly newscast was renamed Douglas Edwards with the News, and in September the following year it became the first news program to be broadcast simultaneously on the East Coast and West Coast through the installation of a new coaxial cable connection. That transcontinental link prompted Edwards to start each broadcast with the updated greeting \"Good evening everyone, coast to coast.\"\n\nOn November 30, 1956, the program became the first to use the new technology of videotape to time delay the broadcast (which originated in New York City) for the western United States.\n\nWalter Cronkite (1962–1981)\n\nWalter Cronkite became anchor of the program titled Walter Cronkite with the News on April 16, 1962. On September 2, 1963, the program, retitled CBS Evening News, became the first half-hour weeknight news broadcast of network television and was moved to 6:30 p.m. Eastern time (the Huntley-Brinkley Report on NBC expanded to 30 minutes exactly one week later on September 9, 1963). As before, some affiliates (including flagship owned-and-operated station WCBS-TV in New York City) had the option of carrying a later edition, this time scheduled for 7:00 p.m. Eastern Time. NBC also allowed this practice for the Huntley-Brinkley Report, with ABC later following it for the ABC Evening News (now ABC World News Tonight). The networks ended this practice after 1971, although some affiliates – mostly in larger markets – continued to carry the national newscasts at 7:00 p.m. Eastern Time on a half-hour tape delay.\n\nThe CBS Evening News was first transmitted in color as a one-evening test broadcast on August 19, 1965, before permanently switching to the format on January 31, 1966. Cronkite's prime time special report, Who, What, When, Where, Why, broadcast on February 27, 1968, ended with his declaration that the United States could only hope for a stalemate in Vietnam. It is often credited with influencing Lyndon Johnson's decision to drop out of the race for President. \"If I've lost Walter Cronkite ... [I]'ve lost Middle America\", he stated.\n\nUnder Cronkite, the newscast began what would eventually become an 18-year period of dominating the ratings among the network evening news programs. In the process, Cronkite became \"the most trusted man in America\" according to a Gallup Poll, a status that had first been fostered in November 1963 through his coverage of the assassination of President John F. Kennedy.\n\nIn late 1972, Cronkite prodded the show's producers to feature two nights of lengthy explanation on the Watergate scandal, which had been extensively covered by The Washington Post, but had not received major national coverage. After the first half of the report, shown on a Friday, ran for 14 minutes, roughly half of the air time of the broadcast, White House officials complained to CBS founder William S. Paley. The second half of the report was aired the following Monday, but only for eight minutes.\n\nDan Rather (1981–2005)\n\n1981–1993\n\nCronkite was replaced as anchor of the program the Monday after his retirement, March 9, 1981, by 49-year-old Dan Rather, who had been with CBS News as a correspondent since the early 1960s and later became a correspondent for the network's newsmagazine 60 Minutes. Concerns about excessive liberalism in the media were frequently leveled at Rather, the CBS Evening News, CBS News, and CBS in general. Some of these concerns dated from Rather's position as White House correspondent for the network's news division during the Nixon administration. An interview in January 1988 related to the Iran–Contra affair with Vice President George H. W. Bush where the two engaged in a shouting match on live television did little to dispel those concerns. Rather unapologetically defended his behavior in statements the following day, and Bush went on to win the presidential election in November.\n\nEarlier, on September 1, 1986, amidst a brewing battle among CBS's Board of Directors for control of the company and turmoil at CBS News, Rather closed his Monday broadcast with the word \"courage,\" repeating it the following night. On September 3, Rather said the masculine noun for the Spanish word for \"courage,\" \"coraje\" (the primary translation for \"courage\" in Spanish is \"valor\"). In the face of media attention and pleas from his staff, Rather abandoned the signoff on September 8.<ref>{{cite book|title=Who Killed CBS? The Undoing of America's Number One News Network|pages=304–06|author=Peter J. Boyer|publisher=Random House|location=New York City|year=1988}}</ref>\n\nOn September 11, 1987, Rather marched off-camera in anger just before a remote broadcast when it appeared that CBS Sports' coverage of a U.S. Open tennis semifinal match between Steffi Graf and Lori McNeil was going to overrun into time allotted for his program. Rather was in Miami covering the visit to the city by Pope John Paul II. When the tennis match ended sooner than expected at 6:32 p.m. Eastern Time, Rather was nowhere to be found, and six minutes of dead air followed before he returned to the broadcast position; nearly half of the audience watched and waited. Rather attempted to explain his actions with a statement release on Sunday, but made no mention of it on his next newscast on Monday, delayed by the men's final. By 1990, the CBS Evening News had fallen to third place in the ratings, behind ABC's World News Tonight with Peter Jennings and NBC Nightly News with Tom Brokaw.\n\nOn January 22, 1991, demonstrators from the AIDS Coalition to Unleash Power (ACT UP) broke into the CBS News studio and chanted \"Fight AIDS, not Arabs\" during the show's introduction. One protester was seen on camera just as Rather began speaking. Rather immediately called for a commercial break, however, the screen went black instead for six seconds before returning to Rather. He apologized twice to viewers about the incident.\n\nConnie Chung as co-anchor (1993–1995)\nOn June 1, 1993, CBS News correspondent Connie Chung began co-anchoring the broadcast with Rather. Chung normally co-anchored in the studio with Rather, but sometimes one of them appeared on location, while the other remained in the studio. Though Rather never said so publicly, CBS News insiders said he did not approve of her appointment. Chung's last broadcast as co-anchor was on May 18, 1995.\n\n1995–2005\n\nThe newscast returned to a solo anchor format on May 19, 1995, with Dan Rather continuing in his role as anchor. At age 73, Rather retired from the Evening News on March 9, 2005, exactly 24 years after succeeding Cronkite.\n\nRather left the anchor position amidst controversy and a credibility crisis over reports broadcast during the 2004 presidential election campaign. The report was a segment featured on a September 2004 broadcast of 60 Minutes Wednesday questioning President George W. Bush's Texas Air National Guard record. Conservative activists challenged the authenticity of the documents used for the report. A number of bloggers analyzed scans of the documents, and rapidly concluded they were forgeries. Subsequently, CBS commissioned an independent inquiry into the matter and several CBS staffers were fired or asked to resign.\n\nAfter departing from the Evening News, Rather remained with CBS News as a correspondent. On June 20, 2006, CBS News President Sean McManus announced that Rather and CBS had agreed to end his 44-year career with the network.\n\nBob Schieffer (2005–2006)\n\nOn March 10, 2005, Rather was succeeded on an interim basis by Face the Nation host and CBS News correspondent Bob Schieffer. At the time Schieffer took over, it was uncertain how long he would host the broadcast, whether it would retain its current structure, or instead adopt some kind of multiple host or alternative format. Under Rather in the years leading up to his retirement, the CBS Evening News trailed its rivals at ABC and NBC by a fairly large margin. White House correspondent John Roberts, and Scott Pelley, his predecessor in that position, were often mentioned as possible successors to Rather when he retired. Jim Axelrod became White House correspondent when Roberts later left for CNN.\n\nIn the months following Rather's departure, the program came to emphasize live exchanges between Schieffer and various CBS News correspondents around the world. In contrast to traditional network news practice, these exchanges were unrehearsed as part of an effort to make the language on the broadcast sound more \"natural\". Viewership increased over this period, with the program being the only network evening news broadcast to gain viewers during 2005. In November 2005, CBS announced that CBS Evening News executive producer Jim Murphy would be replaced by Rome Hartman, who took over in January 2006.\n\nSchieffer led the CBS Evening News to become the #2 evening news broadcast, ahead of ABC's World News Tonight. The death of anchor Peter Jennings in 2005 coupled with the adoption of a dual-anchor format on World News Tonight and life-threatening injuries suffered by Bob Woodruff when an Iraqi military convoy he rode in hit a road-side bomb, leaving Elizabeth Vargas as sole anchor, in January 2006 put the ABC News division in flux. When Charles Gibson was appointed as anchor of World News Tonight, ABC regained stability and momentum to regain the #2 spot.\n\nBob Schieffer's final CBS Evening News broadcast occurred on August 31, 2006. Russ Mitchell filled in for the following two nights (September 1 and 4, 2006), after which he was succeeded by Katie Couric on September 5, 2006.\n\nKatie Couric (2006–2011)\n\nOn December 1, 2005, it was reported that Katie Couric, co-anchor of NBC's Today, was considering an offer by CBS to anchor the Evening News. Couric officially signed a contract to become anchor of the CBS Evening News on April 1, 2006, and formally announced four days later on Today that she would be leaving the show and NBC News after a 15-year run as the morning show's co-anchor. Ratings during Couric's period as anchor fluctuated, seemingly improving at times, but also posting historic lows rivaling those dating back to at least the 1991–92 season.\n\nCouric began working at CBS News in July 2006. During her first broadcast as anchor on September 5, 2006, a new graphics package and set, and a new theme composed by Academy Award-winning composer James Horner were introduced. Similar graphics and music would be introduced on other CBS News programs such as Up to the Minute, CBS Morning News and The Early Show throughout the month of October. A new opening title sequence was designed, with Walter Cronkite providing the voiceover, replacing Wendell Craig unless a temporary voice-over was needed. Following Cronkite's death months earlier, actor Morgan Freeman recorded a new voice-over for the title sequence, which debuted on January 4, 2010. The program also debuted a new feature called \"freeSpeech\" in which different Americans, ranging from well-known national figures to average people, would provide news commentary. After overwhelmingly negative reaction, the segment was discontinued.\n\nOn March 8, 2007, The New York Times reported that the program's executive producer Rome Hartman was being replaced by television news veteran Rick Kaplan. Hartman left as executive producer on March 7. Kaplan came to the Evening News after stints at MSNBC, CNN, and ABC's World News Tonight with Peter Jennings.\n\nOn April 4, 2007, Couric did a one-minute commentary about the importance of reading, in a piece substantially lifted from a Wall Street Journal column by Jeffrey Zaslow. Couric claimed that she remembered her first library card, but the words were all from Zaslow's column. It was determined that a producer had actually written the piece. What made the plagiarism especially striking was the personal flavor of the video – which was subsequently removed from the cbsnews.com website after the situation came to light that began, \"I still remember when I got my first library card, browsing through the stacks for my favorite books.\"\n\nMuch of the rest of the script was stolen from the Journal article. Zaslow said at the time that CBS had \"been very gracious and apologetic, and we at the Journal appreciate it.\" In a case of double plagiarism, the producer who wrote the piece copied from someone else for Couric, and the anchor claimed the words were hers when they were not. The producer responsible for Couric's piece, Melissa McNamara, was fired hours after the Journal contacted CBS News to complain. The network promised changes in its procedures.\n\nOn July 28, 2008, the CBS Evening News became the third network evening newscast to begin broadcasting in high definition (behind NBC Nightly News and PBS's The NewsHour with Jim Lehrer).\n\nOn August 27, 2008, Mediabistro wrote a piece about the Big Three network newscasts, praising Couric's Evening News for extensive reporting that had, in its opinion, content better than its rivals. Another critic from MarketWatch praised Couric's work and said that people should watch out for her in 2009. Washington Post writer Tom Shales praised Couric as a warmer, more benevolent presence than her two competitors, something that she brought to the program nearly 16 years of goodwill from doing \"Today\" and becoming America's sweetheart, or else very close to it, and he claimed that this goodwill remained. Shales added that viewers \"may find bad news less discomforting and sleep-depriving if Couric gives it to them\". He also added that she does not try to \"sugarcoat\" or \"prettify\" grim realities. According to Shales, the Evening News may be a more hospitable, welcoming sort of place than its competitors. He concluded by stating that \"it's naive to think that viewers choose their news anchor based solely on strict journalistic credentials, though Couric's do seem to be in order, despite her critics' claims\".\n\nThe CBS Evening News with Katie Couric won the 2008 and 2009 Edward R. Murrow Award for best newscast. In September 2008, Couric interviewed Republican vice presidential nominee Sarah Palin, earning respect from a MarketWatch critic for asking tough questions. In 2011, the program was the recipient of both an Emmy for Outstanding Continuing Coverage and the Edward R. Murrow Award for Video News Series for foreign correspondent Terry McCarthy's feature story \"Afghan Bomb Squad\".\n\nOn May 18, 2009, the newscast's graphics were overhauled, using a blue and red color scheme with web-influenced motifs and layouts. The new graphics design featured a look influenced by the graphics that CBS used during the 2008 presidential election coverage.\n\nOn April 3, 2011, the Associated Press reported that Couric would be leaving the Evening News when her contract expired in June. Couric later confirmed her departure to People magazine, citing a desire for \"a format that will allow (her) to engage in more multi-dimensional storytelling.\" On May 13, 2011, Couric announced that the following Thursday, May 19, 2011, would be her last broadcast.\nDespite originally retooling the newscasts to add more features, interviews, and human interest stories, over time it returned to the hard news format popularized by Cronkite. Harry Smith served as an interim anchor until Pelley's tenure started on June 6, 2011 (like Couric before him, Smith would also depart from CBS a month later).\n\nScott Pelley (2011–2017)\n\nIn an April 2011 article, the New York Times reported that 60 Minutes correspondent Scott Pelley was considered to be the front-runner to replace Couric as anchor of the program.\n\nOn May 3, 2011, CBS confirmed that Pelley would replace Couric as anchor for the CBS Evening News in June. The graphics were subtly updated (the Couric 2009-2011 graphics were used for the first two days of Pelley's tenure as anchor in 2011), the American flag background on the news set (which had been used since the 2008 elections, this was last used on Harry Smith interim anchor episodes until 2011) was replaced by a replica of the globe fixture during the Cronkite era, and the James Horner theme was replaced by the 1987–91 theme composed by Trivers-Myers Music that was used during the Rather era (the theme was last used on Up to the Minute on June 24, 2011, and was replaced by the Rather and Pelley theme the same year).\nIn his first nine months in the anchor chair, Pelley gained an additional 821,000 viewers. CBS News also enjoyed increases in its audience for special news events. After election night in 2012, Variety wrote, \"With Scott Pelley front and center; the Eye was up 8% from four years ago.\" The CBS Evening News had increased its audience every year from 2011 through 2015. On May 29, 2015, media website The Wrap wrote: \"These days, CBS brass may finally have a reason to smile. On Wednesday, the network announced 'Evening News with Scott Pelley' added more than 1.25 million viewers over the past four years – a whopping 21 percent jump. The show also saw audience growth for the fifth consecutive season, the first time any network evening news broadcast has done that since 1987.\"\n\nAt the end of the 2015–2016 television season, CBS News announced, \"The CBS Evening News with Scott Pelley, America's fastest growing network evening news broadcast, finished the 2015–16 television season with CBS's highest ratings in the time period in 10 years (since the 2005–06 season), according to Nielsen most current ratings. The CBS Evening News has grown its audience for six consecutive seasons, a first-time achievement for any network evening news broadcast since the advent of people meters (since at least 1987). Under Pelley, who assumed the anchor chair in June 2011, the CBS Evening News has added +1.4 million viewers and an audience increase of + 23%, which is double NBC and ABC's growth combined over the same period (since the 2010–11 season).\n\n\"Pelley has refocused the program towards hard news and away from the soft news and infotainment features of the early Katie Couric era. Story selection has focused more on foreign policy, Washington politics, and economic subjects. The program's audience viewership began to grow immediately, closing the gap between the CBS Evening News and its competitors by one million viewers within a year, although the CBS program remains in third place among the network evening newscasts. In late May 2016, a new theme tune composed by Joel Beckerman of Man Made Music was introduced. Later that same year in December, the program moved permanently into CBS Studio 57, which the newscast used during their 2016 election coverage (moving from its longtime home of studio 47) at the CBS Broadcast Center and gained a new set to go with it.\n\nOn May 30, 2017, reports surfaced confirming that Scott Pelley had been relieved of his duties at CBS Evening News. Pelley remained at CBS News as a 60 Minutes correspondent. Pelley reportedly asked staff members to clear out his office. The move was made official on May 31, 2017, and Anthony Mason was named interim anchor. On June 6, 2017, CBS Evening News announced that Pelley would anchor until June 16, 2017.\n\nJeff Glor (2017–2019)\n\nOn October 25, 2017, CBS News announced that correspondent Jeff Glor would be the new CBS Evening News anchor. On November 26, 2017, the organization announced his first official air date for December 4, 2017. Together with Glor's debut, the newscast also updated its looks and used a new logotype and updated typography, using Ridley Grotesk as its base. However, the theme music and set from the later Pelley era were retained. On May 6, 2019, it was announced that Glor would be leaving CBS Evening News. His last day of his broadcast was May 10, 2019. John Dickerson, Major Garrett, Margaret Brennan, Anthony Mason, David Begnaud, Jim Axelrod, and Maurice DuBois anchored on an interim basis until Norah O'Donnell took the anchor chair on July 15, 2019.\n\nNorah O'Donnell (2019–present)\n\nOn May 6, 2019, CBS News announced that Norah O'Donnell was named anchor and managing editor of CBS Evening News to replace Jeff Glor, effective July 15, 2019.https://cbspressexpress.com/cbs-news/releases/view?id=52610 It was also announced that the show would be moving to Washington, D.C. on December 2, 2019. This marks the first time that a major network evening news program is based outside of New York since 1977, when ABC World News Tonight used bureaus in Washington, Chicago and London for its broadcast. The set received minor facelifts, and the theme music was re-arranged.\n\nWeekend editions\nThe CBS Evening News expanded to weekend evenings in February 1966, originally anchored by Roger Mudd. The Sunday edition of the program was dropped in September 1971, when CBS began airing 60 Minutes in the 6:00 p.m. Eastern Time (5:00 p.m. Central) slot in order to help affiliates fulfill requirements imposed by the Federal Communications Commission (FCC)'s Prime Time Access Rule. The Sunday edition returned in January 1976, when the network moved 60 Minutes one hour later to 7:00 p.m. Eastern Time, where that program remains to this day (except when the NFL on CBS is scheduled to air a doubleheader; on those Sundays, 60 Minutes is scheduled for 7:30 p.m. ET).\n\nFrom 2011 to 2014, the CBS Evening News was the only remaining network evening newscast that used separate anchors for its Saturday and Sunday editions (NBC Nightly News previously used separate anchors for both weekend broadcasts until John Seigenthaler was appointed anchor of both the Saturday and Sunday editions in 1999, while ABC's World News Tonight maintained separate anchors for its weekend editions until Saturday anchor David Muir also assumed anchor duties on the program's Sunday edition in 2011). John Roberts did anchor both Saturday and Sunday editions of the CBS Evening News for several months in 1999. More recently, Russ Mitchell served as the weekend anchor for the CBS Evening News until December 2011, when he announced his resignation from CBS News to take a lead anchor position with NBC affiliate WKYC-TV in Cleveland, Ohio. The following year, Mitchell was replaced on the weekend editions by Jim Axelrod on Saturdays and Jeff Glor on Sundays.\n\nWeekend editions of the CBS Evening News were periodically abbreviated or preempted outright due to CBS Sports programming. On May 2, 2016, CBS announced that the weekend editions of the CBS Evening News, effective May 7, 2016, would be revamped as the CBS Weekend News, with the Saturday and Sunday editions anchored by Reena Ninan and Elaine Quijano, respectively (the Saturday edition airs only on the West Coast from September through mid December due to CBS' longstanding SEC football coverage). CBS News executive editor Steve Capus argued that \"given the number of sports overruns and out-and-out pre-emptions, it would be better for us as a news organization to come up with what I think is a smarter, 24-hour approach to covering the world, and making sure we've got all the bases covered.\"\n\n Impact of COVID-19 \nIn March 2020, the COVID-19 pandemic caused the temporary shutdown of the CBS Broadcast Center after a number of CBS News staffers tested positive for the virus. While the network did reopen the facility for a brief period, further positive tests along with a number of corporate directives by CBS News President Susan Zirinsky resulted in a second, indefinite shutdown of the Broadcast Center. With no live weekend sporting events for the next three months (primarily due to the cancellation of CBS's March Madness coverage as well as the temporary pause of the 2019–20 PGA Tour season) resulting in no likely sports pre-emptions, production of the CBS Weekend News was dramatically altered with CBS News staffers outsourcing certain production services to select CBS-owned stations and affiliates, who would originate the newscasts from the stations' respective studios with the station or affiliate's main anchors serving as the program's anchor for the weekend. The usage of local CBS stations and affiliates was, in part, to reduce the pressure on CBS News' Washington, D.C. bureau, where the weeknight CBS Evening News is based, as it had already taken on increased responsibilities during the pandemic.\n\nThe following CBS affiliates assisted with production of the CBS Weekend News from March 14 until May 31:\n\n March 14–15: KCBS Los Angeles (CBS O&O)\n March 21–22 & 28-29: KTVT Fort Worth-Dallas (CBS O&O)\n April 4–5: KCNC Denver (CBS O&O)\n April 11–12: KHOU Houston\n April 18–19: WGCL Atlanta\n April 25–26: WUSA Washington, D.C.\n May 2–3: KIRO Seattle\n May 9–10: WTTV Indianapolis\n May 16–17: KOIN Portland, Oregon\n May 23–24: KOVR Sacramento (CBS O&O)\n May 30–31: KMOV St. Louis\n\nFrom June 7, 2020 (a special Saturday edition of the CBS Evening News covering the weekend's George Floyd protests aired the previous day) until December 2020, with CBS Sports set to resume live coverage of the PGA Tour, CBS News resumed full production of the CBS Weekend News with either chief Washington correspondent Major Garrett or Los Angeles correspondent Jamie Yuccas presiding as anchor, as production for all CBS News programs from the CBS Broadcast Center remained temporarily suspended. On December 4, 2020, CBS News announced correspondents Adriana Diaz and Jericka Duncan would be promoted into permanent anchor positions, with Diaz leading the Saturday edition from the network's Chicago bureau at WBBM-TV and Duncan leading the Sunday edition from the CBS Broadcast Center.\n\nWestern edition\nCBS introduced a Western edition of the program in 1979, which was anchored by Terry Drinkwater with staff based in its Los Angeles bureau being placed on standby for updates to the main CBS Evening News broadcast each weeknight; this lasted until September 1985, when CBS News instituted layoffs at the Los Angeles bureau following a successful fending off of a takeover attempt of the network by Ted Turner. The program eventually resumed production of the Western edition from its New York City and now Washington studios (which may also be produced from remote locations where the program is broadcast when warranted). The host will announce, \"good evening to our viewers in the West\" and packages may be updated to reflect late breaking news.\n\nAnchors\n\nWeekdays\n Richard Hubbell (1941–1942)\n Ned Calmer (1944)\n Everett Holles (1944–1945)\n Allan Jackson (1944–1945)\n Dwight Cooke (1945–1946)\n Tom O’ Connor (1945–1946)\n Bob McKee (1946)\n Milo Boulton (1946)\n Jim McMullin (1946–1947)\nLarry LeSueur (1947)\n Douglas Edwards (1947–1962)\n Walter Cronkite (1962–1981)\n Terry Drinkwater (Western Edition co-anchor; 1979–1985)\n Dan Rather (1981–2005)\n Connie Chung (co-anchor; 1993–1995)\n Bob Schieffer (2005–2006)\n Katie Couric (2006–2011)\n Scott Pelley (2011–2017)\n Jeff Glor (2017–2019)\n Norah O'Donnell (2019–present)\n\nSaturdays\n Roger Mudd (1966–1973)\n Dan Rather (1973–1976)\n Bob Schieffer (1976–1996)\n Paula Zahn (1996–1999)\n John Roberts (1999)\n Thalia Assuras (1999–2008)\n Jeff Glor (2008; 2009–2010)\n Russ Mitchell (1999–2009; 2010–2011)\n Jim Axelrod (2012–2016)\n Reena Ninan (2016–2020)\n Major Garrett (2020)\n Jamie Yuccas (2020)\n Adriana Diaz (2020–present)\n\nSundays\n Bob Schieffer (1976)\n Morton Dean (1976–1984)\n Susan Spencer (1985–1989)\n Connie Chung (1989–1993)\n Deborah Norville (1993–1995)\n John Roberts (1995–2006)\n Russ Mitchell (2006–2011)\n Jeff Glor (2012–2016)\n Elaine Quijano (2016–2020)\n Major Garrett (2020)\n Jamie Yuccas (2020)\n Jericka Duncan (2020–present)\n\nRadio\nAn audio simulcast of the CBS Evening News airs weekdays on some CBS News Radio affiliates. Most stations (such as KNX in Los Angeles and KYW in Philadelphia) carry only the first thirteen to fifteen minutes of the broadcast, before resuming regular programming, with stations in the Pacific and Mountain Time Zones carrying it ahead of the program's broadcast on local CBS stations. WCBS in New York, WBZ in Boston, and WDCH-FM in Washington, D.C. are among the few that simulcast the full half-hour broadcast from 6:30 p.m. to 7:00 p.m. Eastern Time. In addition to an audio simulcast, the CBS Evening News is also available in a podcast format.\n\nInternational broadcasts\nIn Australia, the program is shown daily on Sky News Australia at 11:30 a.m. in New Zealand, Sky News broadcasts the program live at 1:30 a.m. local time.\n\nFrom March 17, 1987, until the early 2000s, the program is shown daily (from Tuesday to Saturday) with French subtitles on French network Canal+ at 7:00 a.m. every morning.\n\nThe program was broadcast on the American Network in Mexico, Guatemala, and El Salvador.\n\nIn Japan, the CBS Evening News was shown on BS-TBS as part of that network's morning news program.\n\nThe Evening News was broadcast live on ATV World in Hong Kong daily until January 1, 2009. Belize's Tropical Vision Limited occasionally airs the program as a substitute for its airing of the NBC Nightly News'' on Saturdays and occasionally during the week.\n\nReferences\n\nExternal links\n\nInternet Movie Database links:\n\n1948 American television series debuts\n1940s American television news shows\n1950s American television news shows\n1960s American television news shows\n1970s American television news shows\n1980s American television news shows\n1990s American television news shows\n2000s American television news shows\n2010s American television news shows\n2020s American television news shows\nBlack-and-white American television shows\nCBS News\nCBS original programming\nEnglish-language television shows\nFlagship evening news shows\nPeabody Award-winning television programs\nTelevision series by CBS Studios\nTelevision shows filmed in Illinois\nTelevision shows filmed in New York City\nTelevision shows filmed in Washington, D.C."
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[
"Walter Cronkite",
"Anchor of the CBS Evening News",
"When did Walter join CBS Evening news?",
"but later the CBS Evening News on September 2, 1963,",
"for how long was he the anchor of CBS evening News?",
"Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.",
"What kind of stories did Walter report?",
"A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963.",
"What was he known as during his time at CBS?",
"Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings",
"What were his ratings for the Apollo 11 and Apollo 13 missions?",
"and made CBS the most-watched television network for the missions.",
"When was Walter's last show on CBS Evening News?",
"Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981."
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Was walter known for saying anything in particular?
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Was Walter Cronkite known for saying anything in particular?
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Walter Cronkite
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On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news. During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored the Huntley-Brinkley Report. For much of the 1960s, the Huntley-Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley-Brinkley Report in viewership during the summer months. In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981. One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981. CANNOTANSWER
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One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is,"
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Walter Leland Cronkite Jr. (November 4, 1916 – July 17, 2009) was an American broadcast journalist who served as anchorman for the CBS Evening News for 19 years (1962–1981). During the 1960s and 1970s, he was often cited as "the most trusted man in America" after being so named in an opinion poll. Cronkite reported many events from 1937 to 1981, including bombings in World War II; the Nuremberg trials; combat in the Vietnam War; the Dawson's Field hijackings; Watergate; the Iran Hostage Crisis; and the assassinations of President John F. Kennedy, civil rights pioneer Martin Luther King Jr., and Beatles musician John Lennon. He was also known for his extensive coverage of the U.S. space program, from Project Mercury to the Moon landings to the Space Shuttle. He was the only non-NASA recipient of an Ambassador of Exploration award. Cronkite is known for his departing catchphrase, "And that's the way it is", followed by the date of the broadcast.
Early life and education
Cronkite was born on November 4, 1916, in Saint Joseph, Missouri, the son of Helen Lena (née Fritsche) and Dr. Walter Leland Cronkite, a dentist.
Cronkite lived in Kansas City, Missouri, until he was ten, when his family moved to Houston, Texas. He attended elementary school at Woodrow Wilson Elementary School (now Baker Montessori School), junior high school at Lanier Junior High School (now Lanier Middle School) in Houston, and high school at San Jacinto High School, where he edited the high school newspaper. He was a member of the Boy Scouts. He attended college at the University of Texas at Austin (UT), entering in the Fall term of 1933, where he worked on the Daily Texan and became a member of the Nu chapter of the Chi Phi Fraternity. He also was a member of the Houston chapter of DeMolay, a Masonic fraternal organization for boys. While attending UT, Cronkite had his first taste of performance, appearing in a play with fellow student Eli Wallach. He dropped out in 1935, not returning for the Fall term, in order to concentrate on journalism.
Career
He dropped out of college in his junior year, in the fall term of 1935, after starting a series of newspaper reporting jobs covering news and sports. He entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma. In 1936, he met his future wife, Mary Elizabeth "Betsy" Maxwell, while working as the sports announcer for KCMO (AM) in Kansas City, Missouri. His broadcast name was "Walter Wilcox". He would explain later that radio stations at the time did not want people to use their real names for fear of taking their listeners with them if they left. In Kansas City, he joined the United Press International in 1937.
With his name now established, he received a job offer from Edward R. Murrow at CBS News to join the Murrow Boys team of war correspondents, relieving Bill Downs as the head of the Moscow bureau. CBS offered Cronkite $125 ($2,235 in 2020 money) a week along with "commercial fees" amounting to $25 ($447 in 2020) for almost every time Cronkite reported on air. Up to that point, he had been making $57.50 ($1,027 in 2020) per week at UP, but he had reservations about broadcasting. He initially accepted the offer. When he informed his boss Harrison Salisbury, UP countered with a raise of $17.50 ($312 in 2020) per week; Hugh Baillie also offered him an extra $20 ($357 in 2020) per week to stay. Cronkite ultimately accepted the UP offer, a move which angered Murrow and drove a wedge between them that would last for years.
Cronkite became one of the top American reporters in World War II, covering battles in North Africa and Europe. He was on board starting in Norfolk, Virginia, through her service off the coast of North Africa as part of Operation Torch, and thence back to the US. On the return trip, Cronkite was flown off Texas in one of her Vought OS2U Kingfisher aircraft when Norfolk was within flying distance. He was granted permission to be flown the rest of the distance to Norfolk so that he could outpace a rival correspondent on to return to the US and to issue the first uncensored news reports to be published about Operation Torch. Cronkite's experiences aboard Texas launched his career as a war correspondent. Subsequently, he was one of eight journalists selected by the United States Army Air Forces to fly bombing raids over Germany in a Boeing B-17 Flying Fortress part of group called The Writing 69th, and during a mission fired a machine gun at a German fighter. He also landed in a glider with the 101st Airborne Division in Operation Market Garden and covered the Battle of the Bulge. After the war, he covered the Nuremberg trials and served as the United Press main reporter in Moscow from 1946 to 1948.
Early years at CBS
In 1950, Cronkite joined CBS News in its young and growing television division, again recruited by Murrow. Cronkite began working at WTOP-TV (now WUSA), the CBS affiliate in Washington, D.C.. He originally served as anchor of the network's 15-minute late-Sunday-evening newscast Up To the Minute, which followed What's My Line? at 11:00 pm ET from 1951 through 1962.
Although it was widely reported that the term "anchor" was coined to describe Cronkite's role at both the Democratic and Republican National Conventions, marking the first nationally televised convention coverage, other news presenters bore the title before him. Cronkite anchored the network's coverage of the 1952 presidential election as well as later conventions. In 1964 he was temporarily replaced by the team of Robert Trout and Roger Mudd; this proved to be a mistake, and Cronkite returned to the anchor chair for future political conventions.
From 1953 to 1957, Cronkite hosted the CBS program You Are There, which reenacted historical events, using the format of a news report. His famous last line for these programs was: "What sort of day was it? A day like all days, filled with those events that alter and illuminate our times ... and you were there." In 1971, the show was revived and redesigned to attract an audience of teenagers and young adults, hosted again by Cronkite on Saturday mornings. In 1957, he began hosting The Twentieth Century (eventually renamed The 20th Century), a documentary series about important historical events of the century composed almost exclusively of newsreel footage and interviews. A long-running hit, the show was again renamed as The 21st Century in 1967 with Cronkite hosting speculative reporting on the future for another three years. Cronkite also hosted It's News to Me, a game show based on news events.
During the presidential elections of 1952 and 1956 Cronkite hosted the CBS news-discussion series Pick the Winner.
Another of his network assignments was The Morning Show, CBS' short-lived challenge to NBC's Today in 1954. His on-air duties included interviewing guests and chatting with a lion puppet named Charlemane about the news. He considered this discourse with a puppet as "one of the highlights" of the show. He added, "A puppet can render opinions on people and things that a human commentator would not feel free to utter. I was and I am proud of it." Cronkite also angered the R. J. Reynolds Tobacco Company, the show's sponsor, by grammatically correcting its advertising slogan. Instead of saying "Winston tastes good like a cigarette should" verbatim, he substituted "as" for "like."
He was the lead broadcaster of the network's coverage of the 1960 Winter Olympics, the first-ever time such an event was televised in the United States. He replaced Jim McKay, who had suffered a mental breakdown.
Anchor of the CBS Evening News
On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.
During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored The Huntley–Brinkley Report. For much of the 1960s, The Huntley–Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley–Brinkley Report in viewership during the summer months.
In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 Moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981.
One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981.
Historic moments
Kennedy's assassination
Cronkite is vividly remembered for breaking the news of the assassination of John F. Kennedy on Friday, November 22, 1963. Cronkite had been standing at the United Press International wire machine in the CBS newsroom as the bulletin of the President's shooting broke and he clamored to get on the air to break the news as he wanted CBS to be the first network to do so.
There was a problem facing the crew in the newsroom, however. There was no television camera in the studio at the time as the technical crew was working on it. Eventually, the camera was retrieved and brought back to the newsroom. Because of the magnitude of the story and the continuous flow of information coming from various sources, time was of the essence but the camera would take at least twenty minutes to become operational under normal circumstances. The decision was made to dispatch Cronkite to the CBS Radio Network booth to report the events and play the audio over the television airwaves while the crew worked on the camera to see if they could get it set up quicker.
Meanwhile, CBS was ten minutes into its live broadcast of the soap opera As the World Turns (ATWT), which had begun at the very minute of the shooting. A "CBS News Bulletin" bumper slide abruptly broke into the broadcast at 1:40 pm EST. Over the slide, Cronkite began reading what would be the first of three audio-only bulletins that were filed in the next twenty minutes:
While Cronkite was reading this bulletin, a second one arrived, mentioning the severity of Kennedy's wounds:
Just before the bulletin cut out, a CBS News staffer was heard saying "Connally too," apparently having just heard the news that Texas Governor John Connally had also been shot while riding in the presidential limousine with his wife Nellie and Mr. and Mrs. Kennedy.
CBS then rejoined the telecast of ATWT during a commercial break, which was followed by show announcer Dan McCullough's usual fee plug for the first half of the program and the network's 1:45 pm station identification break. Just before the second half of ATWT was to begin, the network broke in with the bumper slide a second time. In this bulletin Cronkite reported in greater detail about the assassination attempt on the President, while also breaking the news of Governor Connally's shooting.
Cronkite then recapped the events as they had happened: that the President and Governor Connally had been shot and were in the emergency room at Parkland Hospital, and no one knew their condition as yet. CBS then decided to return to ATWT, which was now midway through its second segment.
The cast had continued to perform live while Cronkite's bulletins broke into the broadcast, unaware of the unfolding events in Dallas. ATWT then took another scheduled commercial break. The segment before the break would be the last anyone would see of any network's programming until Tuesday, November 26. During the commercial, the bumper slide interrupted the proceedings again and Cronkite updated the viewers on the situation in Dallas. This bulletin went into more detail than the other two, revealing that Kennedy had been shot in the head, Connally in the chest. Cronkite remained on the air for the next ten minutes, continuing to read bulletins as they were handed to him, and recapping the events as they were known. He also related a report given to reporters by Texas Congressman Albert Thomas that the President and Governor were still alive, the first indication of their condition. At 2:00 pm EST, with the top of the hour station break looming, Cronkite told the audience that there would be a brief pause so that all of CBS' affiliates, including those in the Mountain and Pacific time zones which were not on the same schedule, could join the network. He then left the radio booth and went to the anchor desk in the newsroom.
Within twenty seconds of the announcement, every CBS affiliate except Dallas' KRLD (which was providing local coverage) was airing the network's feed. The camera was finally operational by this time and enabled the audience to see Cronkite, who was clad in shirt and tie but without his suit coat, given the urgent nature of the story. Cronkite reminded the audience, again, of the attempt made on the life of the President and tossed to KRLD news director Eddie Barker at the Dallas Trade Mart, where Kennedy was supposed to be making a speech before he was shot. Barker relayed information that Kennedy's condition was extremely critical. Then, after a prayer for Kennedy, Barker quoted an unofficial report that the President was dead but stressed it was not confirmed.
After several minutes, the coverage came back to the CBS newsroom where Cronkite reported that the President had been given blood transfusions and two priests had been called into the room. He also played an audio report from KRLD that someone had been arrested in the assassination attempt at the Texas School Book Depository. Back in Dallas Barker announced another report of the death of the President, mentioning that it came from a reliable source. Before the network left KRLD's feed for good, Barker first announced, then retracted, a confirmation of Kennedy's death.
CBS cut back to Cronkite reporting that one of the priests had administered last rites to the president. In the next few minutes, several more bulletins reporting that Kennedy had died were given to Cronkite, including one from CBS's own correspondent Dan Rather that had been reported as confirmation of Kennedy's demise by CBS Radio. As these bulletins came into the newsroom, it was becoming clearer that Kennedy had in fact lost his life. Cronkite, however, stressed that these bulletins were simply reports and not any official confirmation of the President's condition; some of his colleagues recounted in 2013 that his early career as a wire service reporter taught him to wait for official word before reporting a story. Still, as more word came in, Cronkite seemed to be resigned to the fact that it was only a matter of time before the assassination was confirmed. He appeared to concede this when, several minutes after he received the Rather report, he received word that the two priests who gave the last rites to Kennedy told reporters on the scene that he was dead. Cronkite said that report "seems to be as close to official as we can get", but would not declare it as such. Nor did he do so with a report from Washington, DC that came moments later, which said that government sources were now reporting the President was dead (this information was passed on to ABC as well, which took it as official confirmation and reported it as such; NBC did not report this information at all and chose instead to rely on reports from Charles Murphy and Robert MacNeil to confirm their suspicions).
At 2:38 pm EST, while filling in time with some observations about the security presence in Dallas, which had been increased due to violent acts against United Nations Ambassador Adlai Stevenson in the city earlier that year, Cronkite was handed a new bulletin. After looking it over for a moment, he took off his glasses, and made the official announcement:
After making that announcement, Cronkite paused briefly, put his glasses back on, and swallowed hard to maintain his composure. With noticeable emotion in his voice he intoned the next sentence of the news report:
With emotion still in his voice and eyes watering, Cronkite once again recapped the events after collecting himself, incorporating some wire photos of the visit and explaining the significance of the pictures now that Kennedy was dead. He reminded the viewers that Vice President Johnson was now the President and was to be sworn in, that Governor Connally's condition was still unknown, and that there was no report of whether the assassin had been captured. He then handed the anchor position to Charles Collingwood, who had just entered the newsroom, took his suit coat, and left the room for a while.
At about 3:30 pm EST, Cronkite came back into the newsroom to relay some new information. The two major pieces of information involved the Oath of Office being administered to now-President Johnson, which officially made him the thirty-sixth President, and that Dallas police had arrested a man named Lee Harvey Oswald whom they suspected had fired the fatal shots. After that, Cronkite left again to begin preparing for that night's CBS Evening News, which he returned to anchor as normal. For the next four days, along with his colleagues, Cronkite continued to report segments of uninterrupted coverage of the assassination, including the announcement of Oswald's death in the hands of Jack Ruby on Sunday. The next day, on the day of the funeral, Cronkite concluded CBS Evening News with the following assessment about the events of the last four dark days:
Referring to his coverage of Kennedy's assassination, in a 2006 TV interview with Nick Clooney, Cronkite recalled,
In a 2003 CBS special commemorating the 40th anniversary of the assassination, Cronkite recalled his reaction upon having the death confirmed to him, he said,
According to historian Douglas Brinkley, Cronkite provided a sense of perspective throughout the unfolding sequence of disturbing events.
Vietnam War
In mid-February 1968, on the urging of his executive producer Ernest Leiser, Cronkite and Leiser journeyed to Vietnam to cover the aftermath of the Tet Offensive. They were invited to dine with General Creighton Abrams, the commander of all forces in Vietnam, whom Cronkite knew from World War II. According to Leiser, Abrams told Cronkite, "we cannot win this Goddamned war, and we ought to find a dignified way out."
Upon return, Cronkite and Leiser wrote separate editorial reports based on that trip. Cronkite, an excellent writer, preferred Leiser's text over his own. On February 27, 1968, Cronkite closed "Report from Vietnam: Who, What, When, Where, Why?" with that editorial report:
Following Cronkite's editorial report, President Lyndon B. Johnson is claimed by some to have said, "If I've lost Cronkite, I've lost Middle America." However, this account of Johnson has been questioned by other observers in books on journalistic accuracy. At the time the editorial aired, Johnson was in Austin, Texas, attending Texas Governor John Connally's birthday gala and was giving a speech in his honor.
In his book This Just In: What I Couldn't Tell You on TV, CBS News correspondent Bob Schieffer, who was serving as a reporter for the Fort Worth Star-Telegram when Cronkite's editorial aired, acknowledged that Johnson did not see the original broadcast but also defended the allegation that Johnson had made the remark. According to Schieffer, Johnson's aide George Christian "told me that the President apparently saw some clips of it the next day" and that "That's when he made the remark about Cronkite. But he knew then that it would take more than Americans were willing to give it." When asked about the remark during a 1979 interview, Christian claimed he had no recollection about what the President had said. In his 1996 memoir A Reporter's Life, Cronkite claimed he was at first unsure about how much of an impact his editorial report had on Johnson's decision to drop his bid for re-election, and what eventually convinced him the President had made the statement was a recount from Bill Moyers, a journalist and former aide to Johnson.
Several weeks later, Johnson, who sought to preserve his legacy and was now convinced his declining health could not withstand growing public criticism, announced he would not seek reelection.
During the 1968 Democratic National Convention in Chicago, Cronkite was anchoring the CBS network coverage as violence and protests occurred outside the convention, as well as scuffles inside the convention hall. When Dan Rather was punched to the floor (on camera) by security personnel, Cronkite commented, "I think we've got a bunch of thugs here, Dan."
Other historic events
The first publicly transmitted live trans-Atlantic program was broadcast via the Telstar satellite on July 23, 1962, at 3:00 pm EDT, and Cronkite was one of the main presenters in this multinational broadcast. The broadcast was made possible in Europe by Eurovision and in North America by NBC, CBS, ABC, and the CBC. The first public broadcast featured CBS's Cronkite and NBC's Chet Huntley in New York, and the BBC's Richard Dimbleby in Brussels. Cronkite was in the New York studio at Rockefeller Plaza as the first pictures to be transmitted and received were the Statue of Liberty in New York and the Eiffel Tower in Paris. The first segment included a televised major league baseball game between the Philadelphia Phillies and the Chicago Cubs at Wrigley Field. From there, the video switched first to Washington, D.C.; then to Cape Canaveral, Florida; then to Quebec City, Quebec, and finally to Stratford, Ontario. The Washington segment included a press conference with President Kennedy, talking about the price of the American dollar, which was causing concern in Europe. This broadcast inaugurated live intercontinental news coverage, which was perfected later in the sixties with Early Bird and other Intelsat satellites.
General of the Army Dwight D. Eisenhower returned to his former Supreme Headquarters Allied Expeditionary Force (SHAEF) headquarters for an interview by Cronkite on the CBS News Special Report D-Day + 20, telecast on June 6, 1964.
Cronkite is also remembered for his coverage of the United States space program, and at times was visibly enthusiastic, rubbing his hands together on camera with a smile and uttering, "Whew...boy" on July 20, 1969, when the Apollo 11 lunar landing mission put the first men on the Moon.
Cronkite participated in Richard Nixon's 1972 visit to China. Because Cronkite was colorblind, he had to ask others what color of coat First Lady Pat Nixon was wearing when they disembarked in Peking (Beijing).
According to the 2006 PBS documentary on Cronkite, there was "nothing new" in his reports on the Watergate affair; however, Cronkite brought together a wide range of reporting, and his credibility and status is credited by many with pushing the Watergate story to the forefront with the American public, ultimately resulting in the resignation of President Richard M. Nixon on August 9, 1974. Cronkite had anchored the CBS coverage of Nixon's address, announcing his impending resignation, the night before.
The January 22, 1973, broadcast of the CBS Evening News saw Cronkite break the news of the death of another notable American political figure: former president Lyndon B. Johnson. At approximately 6:38 pm Eastern Time, while a pre-recorded report that the Vietnam peace talks in Paris had been successful was being played for the audience, Cronkite received a telephone call in the studio while off camera. The call was from Tom Johnson, the former press secretary for President Johnson who was at the time serving the former chief executive as station manager at KTBC-TV in Austin, Texas, which was affiliated with CBS at the time and was owned by the Johnson family. During the conversation the production staff cut away from the report back to the live camera in studio as Cronkite was still on the phone. After he was made aware that he was back on camera, Cronkite held up a finger to let everyone watching know he required a moment to let Johnson finish talking. Once Cronkite got what he needed, he thanked Johnson and asked him to stay on the line. He then turned to the camera and began to relay what Johnson had said to him.
During the final ten minutes of that broadcast, Cronkite reported on the death, giving a retrospective on the life of the nation's 36th president, and announced that CBS would air a special on Johnson later that evening. This story was re-told on a 2007 CBS-TV special honoring Cronkite's 90th birthday.
NBC-TV's Garrick Utley, anchoring NBC Nightly News that evening, also interrupted his newscast in order to break the story, doing so about three minutes after Cronkite on CBS. The news was not reported on that night's ABC Evening News, which was anchored by Howard K. Smith and Harry Reasoner, because ABC at the time fed their newscast live at 6:00 pm Eastern instead of 6:30 to get a head start on CBS and NBC for those stations that aired ABC Evening News live (although not every affiliate did).
On November 22, 1963, Cronkite introduced The Beatles to the United States by airing a four-minute story about the band on CBS Morning News. The story was scheduled to be shown again on the CBS Evening News that same day, but the assassination of John F. Kennedy prevented the broadcast of the regular evening news. The Beatles story was aired on the evening news program on December 10.
Retirement
On February 14, 1980, Cronkite announced that he intended to retire from the CBS Evening News; at the time, CBS had a policy of mandatory retirement by age 65. Although sometimes compared to a father figure or an uncle figure, in an interview about his retirement he described himself as being more like a "comfortable old shoe" to his audience. His last day in the anchor chair at the CBS Evening News was on March 6, 1981; he was succeeded the following Monday by Dan Rather.
Cronkite's farewell statement:
On the eve of Cronkite's retirement, he appeared on The Tonight Show hosted by Johnny Carson. The following night, Carson did a comic spoof of his on-air farewell address.
Other activities
Post-CBS Evening News
As he had promised on his last show as anchor in 1981, Cronkite continued to broadcast occasionally as a special correspondent for CBS, CNN, and NPR into the 21st century; one such occasion was Cronkite anchoring the second space flight by John Glenn in 1998 as he had Glenn's first in 1962. Cronkite hosted Universe until its cancellation in 1982. In 1983, he reported on the British general election for the ITV current affairs series World In Action, interviewing, among many others, the victorious Prime Minister, Margaret Thatcher. Cronkite hosted the annual Vienna New Year's Concert on PBS from 1985 to 2008, succeeded by Julie Andrews in 2009. For many years, until 2002, he was also the host of the annual Kennedy Center Honors.
In 1998, Cronkite hosted the 90-minute documentary, Silicon Valley: A 100 Year Renaissance, produced by the Santa Clara Valley Historical Association. The film documented Silicon Valley's rise from the origin of Stanford University to the current high-technology powerhouse. The documentary was broadcast on PBS throughout the United States and in 26 countries. Prior to 2004, he could also be seen in the opening movie "Back to Neverland" shown in the Walt Disney World attraction The Magic of Disney Animation, interviewing Robin Williams as if he is still on the CBS News channel, ending his on-camera time with Cronkite's famous catchphrase. In the feature, Cronkite describes the steps taken in the creation of an animated film, while Williams becomes an animated character (and even becomes Cronkite, impersonating his voice). He also was shown inviting Disney guests and tourists to the Disney Classics Theater.
On May 21, 1999, Cronkite participated in a panel discussion on "Integrity in the Media" with Ben Bradlee and Mike McCurry at the Connecticut Forum in Hartford, Connecticut. Cronkite provided an anecdote about taking a picture from a house in Houston, Texas, where a newsworthy event occurred and being praised for getting a unique photograph, only to find out later that the city desk had provided him with the wrong address.
Voice-overs
Cronkite narrated the IMAX film about the Space Shuttle, The Dream is Alive, released in 1985. From May 26, 1986, to August 15, 1994, he was the narrator's voice in the EPCOT Center attraction Spaceship Earth, at Walt Disney World in Orlando, Florida. He provided the pivotal voice of Captain Neweyes in the 1993 animated film We're Back: A Dinosaur's Story, delivering his trademark line at the end. In 1995, he made an appearance on Broadway, providing the voice of the titular book in the 1995 revival of How to Succeed in Business Without Really Trying.
Cronkite was a finalist for NASA's Journalist in Space program, which mirrored the Teacher in Space Project, an opportunity that was suspended after the Challenger disaster in 1986. He recorded voice-overs for the 1995 film Apollo 13, modifying the script he was given to make it more "Cronkitian." In 2002, Cronkite was the voice of Benjamin Franklin in the educational television cartoon Liberty's Kids, which included a news segment ending with the same phrase he did back on the CBS Evening News. This role earned him Daytime Emmy nominations for Outstanding Performer in a Children's Series, in 2003 and 2004, but he did not win. His distinctive voice provided the narration for the television ads of the University of Texas, Austin, his alma mater, with its 'We're Texas' ad campaign.
He held amateur radio operator license KB2GSD and narrated a 2003 American Radio Relay League documentary explaining amateur radio's role in disaster relief. The video tells Amateur Radio's public service story to non-hams, focusing on ham radio's part in helping various agencies respond to wildfires in the Western US during 2002, ham radio in space and the role Amateur Radio plays in emergency communications. "Dozens of radio amateurs helped the police and fire departments and other emergency services maintain communications in New York, Pennsylvania and Washington, DC," narrator Cronkite intoned in reference to ham radio's response to the terrorist attacks on September 11, 2001. Unusually, Cronkite was a Novice-class licensee—the entry level license—for his entire, and long, tenure in the hobby.
On February 15, 2005, he went into the studio at CBS to record narration for WCC Chatham Radio, a documentary about Guglielmo Marconi and his Chatham station, which became the busiest ship-to-shore wireless station in North America from 1914 to 1994. The documentary was directed by Christopher Seufert of Mooncusser Films and premiered at the Chatham Marconi Maritime Center in April 2005. In 2006, Cronkite hosted the World War One Living History Project, a program honoring America's final handful of veterans from the First World War. The program was created by Treehouse Productions and aired on NPR on November 11, 2006. In May 2009, Legacy of War, produced by PBS, was released. Cronkite chronicles, over archive footage, the events following World War II that resulted in America's rise as the dominant world power.
Prior to his death, "Uncle Walter" hosted a number of TV specials and was featured in interviews about the times and events that occurred during his career as America's "most trusted" man. In July 2006, the 90-minute documentary Walter Cronkite: Witness to History aired on PBS. The special was narrated by Katie Couric, who assumed the CBS Evening News anchor chair in September 2006. Cronkite provided the voiceover introduction to Couric's CBS Evening News, which began on September 5, 2006. Cronkite's voiceover was notably not used on introducing the broadcast reporting his funeral – no voiceover was used on this occasion.
TV and movie appearances
Cronkite made a cameo appearance on a 1974 episode of The Mary Tyler Moore Show, in which he met with Lou Grant in his office. Ted Baxter, who at first tried to convince Cronkite that he (Baxter) was as good a newsman as Eric Sevareid, pleaded with Cronkite to hire him for the network news, at least to give sport scores, and gave an example: "The North Stars 3, the Kings Oh!" Cronkite turned to Grant and said, "I'm gonna get you for this!" Cronkite later said that he was disappointed that his scene was filmed in one take, since he had hoped to sit down and chat with the cast.
In the late 1980s and again in the 1990s, Cronkite appeared on the news-oriented situation comedy Murphy Brown as himself. Both episodes were written by the Emmy Award-winning team of Tom Seeley and Norm Gunzenhauser. He also continued hosting a variety of series. In the early 1980s, he was host of the documentary series World War II with Walter Cronkite. In 1991, he hosted the TV documentary Dinosaur! on A&E (not related to the documentary of the same title hosted by Christopher Reeve on CBS six years earlier), and a 1994 follow-up series, Ape Man: The Story of Human Evolution. In 1995, he narrated the World Liberty Concert held in the Netherlands.
Cronkite routinely hosted the Kennedy Center Honors from 1981 to 2002.
Cronkite appeared briefly in the 2005 dramatic documentary The American Ruling Class written by Lewis Lapham; the 2000 film Thirteen Days reporting on the Cuban Missile Crisis; and provided the opening synopsis of the American Space Program leading to the events in Apollo 13 for the 1995 Ron Howard film of the same name.
Political activism
Cronkite wrote a syndicated opinion column for King Features Syndicate. In 2005 and 2006, he contributed to The Huffington Post. Cronkite was the honorary chairman of The Interfaith Alliance. In 2006, he presented the Walter Cronkite Faith and Freedom Award to actor and activist George Clooney on behalf of his organization at its annual dinner in New York.
Cronkite was a vocal advocate for free airtime for political candidates. He worked with the Alliance for Better Campaigns and Common Cause, for instance, on an unsuccessful lobbying effort to have an amendment added to the McCain-Feingold-Shays-Meehan Campaign Finance Reform Act of 2001 that would have required TV broadcast companies to provide free airtime to candidates. Cronkite criticized the present system of campaign finance which allows elections to "be purchased" by special interests, and he noted that all the European democracies "provide their candidates with extensive free airtime." "In fact," Cronkite pointed out, "of all the major nations worldwide that profess to have democracies, only seven – just seven – do not offer free airtime" This put the United States on a list with Ecuador, Honduras, Malaysia, Taiwan, Tanzania, and Trinidad and Tobago. Cronkite concluded that "The failure to give free airtime for our political campaigns endangers our democracy." During the elections held in 2000, the amount spent by candidates in the major TV markets approached $1 billion. "What our campaign asks is that the television industry yield just a tiny percentage of that windfall, less than 1 percent, to fund free airtime."
He was a member of the Constitution Project's bipartisan Liberty and Security Committee. He also supported the nonprofit world hunger organization Heifer International.
In 1998, he supported President Bill Clinton during Clinton's impeachment trial. He was also a proponent of limited world government on the American federalist model, writing fundraising letters for the World Federalist Association (now Citizens for Global Solutions). In accepting the 1999 Norman Cousins Global Governance Award at the ceremony at the United Nations, Cronkite said:
It seems to many of us that if we are to avoid the eventual catastrophic world conflict we must strengthen the United Nations as a first step toward a world government patterned after our own government with a legislature, executive and judiciary, and police to enforce its international laws and keep the peace. To do that, of course, we Americans will have to yield up some of our sovereignty. That would be a bitter pill. It would take a lot of courage, a lot of faith in the new order. But the American colonies did it once and brought forth one of the most nearly perfect unions the world has ever seen.
Cronkite contrasted his support for accountable global government with the opposition to it by politically active Christian fundamentalists in the United States:
Even as with the American rejection of the League of Nations, our failure to live up to our obligations to the United Nations is led by a handful of willful senators who choose to pursue their narrow, selfish political objectives at the cost of our nation's conscience. They pander to and are supported by the Christian Coalition and the rest of the religious right wing. Their leader, Pat Robertson, has written that we should have a world government but only when the messiah arrives. Any attempt to achieve world order before that time must be the work of the Devil! Well join me... I'm glad to sit here at the right hand of Satan.
In 2003, Cronkite, who owned property on Martha's Vineyard, became involved in a long-running debate over his opposition to the construction of a wind farm in that area. In his column, he repeatedly condemned President George W. Bush and the 2003 invasion of Iraq. Cronkite appeared in the 2004 Robert Greenwald film Outfoxed, where he offered commentary on what he said were unethical and overtly political practices at the Fox News Channel. Cronkite remarked that when Fox News was founded by Rupert Murdoch, "it was intended to be a conservative organization – beyond that; a far-right-wing organization". In January 2006, during a press conference to promote the PBS documentary about his career, Cronkite said that he felt the same way about America's presence in Iraq as he had about their presence in Vietnam in 1968 and that he felt America should recall its troops.
Cronkite spoke out against the War on Drugs in support of the Drug Policy Alliance, writing a fundraising letter and appearing in advertisements on behalf of the DPA. In the letter, Cronkite wrote: "Today, our nation is fighting two wars: one abroad and one at home. While the war in Iraq is in the headlines, the other war is still being fought on our own streets. Its casualties are the wasted lives of our own citizens. I am speaking of the war on drugs. And I cannot help but wonder how many more lives, and how much more money, will be wasted before another Robert McNamara admits what is plain for all to see: the war on drugs is a failure."
Personal life
Cronkite was married for nearly 65 years to Mary Elizabeth 'Betsy' Maxwell Cronkite, from March 30, 1940, until her death from cancer on March 15, 2005. They had three children: Nancy Cronkite, Mary Kathleen (Kathy) Cronkite, and Walter Leland (Chip) Cronkite III (who is married to actress Deborah Rush). Cronkite dated singer Joanna Simon from 2005 to 2009.
A grandson, Walter Cronkite IV, now works at CBS. Cronkite's cousin is former Mayor of Kansas City and 2008 Democratic nominee for Missouri's 6th congressional district Kay Barnes.
Cronkite was an accomplished sailor and enjoyed sailing coastal waters of the United States in his custom-built 48-foot Sunward "Wyntje". Cronkite was a member of the United States Coast Guard Auxiliary, with the honorary rank of commodore. Throughout the 1950s, he was an aspiring sports car racer, even racing in the 1959 12 Hours of Sebring.
Cronkite was reported to be a fan of the game Diplomacy, which was rumored to be Henry Kissinger's favorite game.
Death
In June 2009, Cronkite was reported to be terminally ill. He died on July 17, 2009, at his home in New York City aged 92. He is believed to have died from cerebrovascular disease.
Cronkite's funeral took place on July 23, 2009, at St. Bartholomew's Church in midtown Manhattan, New York City. Among many journalists who attended were Tom Brokaw, Connie Chung, Katie Couric, Charles Gibson, Matt Lauer, Dan Rather, Andy Rooney, Morley Safer, Diane Sawyer, Bob Schieffer, Meredith Vieira, Barbara Walters, and Brian Williams. At his funeral, his friends noted his love of music, including, recently, drumming. He was cremated and his remains buried next to his wife, Betsy, in the family plot in Kansas City.
Legacy
Public credibility and trustworthiness
For many years, until a decade after he left his post as anchor, Cronkite was considered one of the most trusted figures in the United States. For most of his 19 years as anchor, he was the "predominant news voice in America." Affectionately known as "Uncle Walter," he covered many of the important news events of the era so effectively that his image and voice are closely associated with the Cuban Missile Crisis, the assassination of President John F. Kennedy, the Vietnam War, the Apollo 11 Moon landing, and the Watergate scandal. USA Today wrote that "few TV figures have ever had as much power as Cronkite did at his height." Enjoying the cult of personality surrounding Cronkite in those years, CBS allowed some good-natured fun-poking at its star anchorman in some episodes of the network's popular situation comedy All in the Family, during which the lead character Archie Bunker would sometimes complain about the newsman, calling him "Pinko Cronkite."
Cronkite trained himself to speak at a rate of 124 words per minute in his newscasts, so that viewers could clearly understand him. In contrast, Americans average about 165 words per minute, and fast, difficult-to-understand talkers speak close to 200 words per minute.
Awards and honors
In 1968, the faculty of the E. W. Scripps School of Journalism at Ohio University voted to award Cronkite the Carr Van Anda Award "for enduring contributions to journalism." In 1970, Cronkite received a "Freedom of the Press" George Polk Award and the Paul White Award from the Radio Television Digital News Association.
In 1972, in recognition of his career, Princeton University's American Whig-Cliosophic Society awarded Cronkite the James Madison Award for Distinguished Public Service.
In 1981, the year he retired, former president Jimmy Carter awarded Cronkite the Presidential Medal of Freedom. In that year, he also received the S. Roger Horchow Award for Greatest Public Service by a Private Citizen, an award given out annually by Jefferson Awards, and the Paul White Award for lifetime achievement from the Radio Television Digital News Association. In 1985, Cronkite was honored with the induction into the Academy of Television Arts and Sciences Hall of Fame. In 1989 he received the Four Freedoms Award for the Freedom of Speech. He was elected to the American Philosophical Society in 1994. In 1995, he received the Ischia International Journalism Award. In 1999, Cronkite received the Rotary National Award for Space Achievement's Corona Award in recognition of a lifetime of achievement in space exploration. He was elected a Fellow of the American Academy of Arts and Sciences in 2003. On March 1, 2006, Cronkite became the first non-astronaut to receive NASA's Ambassador of Exploration Award. Among Cronkite's numerous awards were four Peabody awards for excellence in broadcasting.
In 2003, Cronkite was honored by the Vienna Philharmonic with the Franz Schalk Gold Medal, in view of his contributions to the New Year's Concert and the cultural image of Austria.
Minor planet 6318 Cronkite, discovered in 1990 by Eleanor Helin is named in his honor.
Cronkite School at Arizona State University
A few years after Cronkite retired, Tom Chauncey, a former owner of KOOL-TV, the then-CBS affiliate in Phoenix, contacted Cronkite, an old friend, and asked him if he would be willing to have the journalism school at Arizona State University named after him. Cronkite immediately agreed. The ASU program acquired status and respect from its namesake.
Cronkite was not just a namesake, but he also took the time to interact with the students and staff of the Walter Cronkite School of Journalism and Mass Communication. Cronkite made the trip to Arizona annually to present the Walter Cronkite Award for Excellence in Journalism to a leader in the field of media.
"The values that Mr. Cronkite embodies – excellence, integrity, accuracy, fairness, objectivity – we try to instill in our students each and every day. There is no better role model for our faculty or our students," said Dean Christopher Callahan.
The school, with approximately 1,700 students, is widely regarded as one of the top journalism schools in the country. It is housed in a new facility in downtown Phoenix that is equipped with 14 digital newsrooms and computer labs, two TV studios, 280 digital student work stations, the Cronkite Theater, the First Amendment Forum, and new technology. The school's students regularly finish at the top of national collegiate journalism competitions, such as the Hearst Journalism Awards program and the Society of Professional Journalists Mark of Excellence Awards. In 2009, students won the Robert F. Kennedy Journalism Award for college print reporting.
In 2008, the state-of-the-art journalism education complex in the heart of ASU's Downtown Phoenix campus was also built in his honor. The Walter Cronkite Regents Chair in Communication seats the Texas College of Communications dean.
Walter Cronkite Papers
The Walter Cronkite papers are preserved at the curatorial Dolph Briscoe Center for American History at the University of Texas at Austin. Occupying 293 linear feet (almost 90 metres) of shelf space, the papers document Cronkite's journalism career. Amongst the collected material are Cronkite's early beginnings while he still lived in Houston. They encompass his coverage of World War II as a United Press International correspondent, where he cemented his reputation by taking on hazardous overseas assignments. During this time he also covered the Nuremberg war crimes trial serving as the chief of the United Press bureau in Moscow. The main content of the papers documents Cronkite's career with CBS News between 1950 and 1981.
The Cronkite Papers assemble a variety of interviews with U.S. presidents, including Herbert Hoover, Harry Truman, and Ronald Reagan. President Lyndon Johnson requested a special interview with Cronkite while he was broadcasting live on CBS.
Between 1990 and 1993, Don Carleton, executive director for the Center for American History, assisted Cronkite as he compiled an oral history to write his autobiography, A Reporter's Life, which was published in 1996. The taped memoirs became an integral part of an eight-part television series Cronkite Remembers, which was shown on the Discovery Channel.
As a newsman, Cronkite devoted his attention to the early days of the space program, and the "space race" between the United States and the Soviet Union. The National Aeronautics and Space Administration honored Cronkite on February 28, 2006. Michael Coats, director of NASA's Lyndon B. Johnson Space Center in Houston, presented Cronkite with the Ambassador of Exploration Award. Cronkite was the first non-astronaut thus honored.
NASA presented Cronkite with a Moon rock sample from the early Apollo expeditions spanning 1969 to 1972. Cronkite passed on the Moon rock to Bill Powers, president of the University of Texas at Austin, and it became part of the collection at the Dolph Briscoe Center for American History. Carleton said at this occasion, "We are deeply honored by Walter Cronkite's decision to entrust this prestigious award to the Center for American History. The Center already serves as the proud steward of his professional and personal papers, which include his coverage of the space program for CBS News. It is especially fitting that the archive documenting Walter's distinguished career should also include one of the moon rocks that the heroic astronauts of the Apollo program brought to Earth."
Memorial at Missouri Western State University
On November 4, 2013, Missouri Western State University in St. Joseph, Missouri, dedicated the Walter Cronkite Memorial. The nearly 6,000 square-foot memorial includes images, videos and memorabilia from Cronkite's life and the many events he covered as a journalist. The memorial includes a replica of the newsroom from which Cronkite broadcast the news during the 1960s and 1970s. In 2014, the Memorial received the Missouri Division of Tourism's Spotlight Award.
Books
The Challenges of Change (1971). Washington: Public Affairs Press. .
Eye on the World (1971). New York: Cowles Book Co. .
A Reporter's Life (1996). New York: Alfred A. Knopf. .
See also
New Yorkers in journalism
Walter Cronkite School of Journalism and Mass Communication
References
Further reading
Menand, Louis, "Seeing It Now: Walter Cronkite and the legend of CBS News", The New Yorker, July 9, 2012
External links
"Walter Cronkite, 92, Dies; Trusted Voice of TV News", The New York Times (July 17, 2009)
The Walter Cronkite Papers at the University of Texas at Austin
FBI Records: The Vault - Walter Leland Cronkite at vault.fbi.gov
1916 births
2009 deaths
20th-century American journalists
American male journalists
60 Minutes correspondents
Amateur radio people
American broadcast news analysts
American game show hosts
American television news anchors
American television reporters and correspondents
CBS News people
Drug policy reform activists
Fellows of the American Academy of Arts and Sciences
Journalists from Houston
Oklahoma Sooners football announcers
Peabody Award winners
People from St. Joseph, Missouri
Presidential Medal of Freedom recipients
San Jacinto High School alumni
Space advocates
Moody College of Communication alumni
American war correspondents of the Vietnam War
American war correspondents of World War II
20th-century American Episcopalians
Recipients of Ischia International Journalism Award
Members of the American Philosophical Society
United States Coast Guard Auxiliary officers
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"Martin-Walter was a long established, 1773, firm of harness makers in Folkestone, Kent which switched to building bespoke bodies for motor cars when horse-drawn vehicles began to disappear. As well as bespoke bodies they built short runs for various motor manufacturers. In the Great depression of the 1930s they made very distinctive Wingham cabriolet bodies which were fitted to a range of chassis from large Vauxhall to Rolls-Royce. After the Second World War they built ambulance bodies and in particular conversions of Bedford vans, \"a bedroom on wheels\", and other Vauxhall products as well as Austin and Volkswagen Kombi vans.\n\nMartin Walter was distributor of Vauxhall and Bedford Vehicles for East Kent. \n\nA separate coachbuilding company was incorporated in 1969 and named Dormobile after its best-known postwar product,.\n\nMartin Walter's business was subsumed in Chatfields-Martin Walter motor group.\n\nReferences\n\nExternal links\n\nCoachbuilders of the United Kingdom\nFolkestone\nDormobile\nRecreational vehicle manufacturers",
"Walter Laburnum (born George Walter Davis; 15 June 1847 – 28 March 1902) was an English music hall performer.\n\nBorn in Hendon, he worked as a beer and wine seller before becoming a professional performer in the 1870s. He became well known as a singer of \"coster songs\", and for parodying the style of popular lions comiques, in particular George Leybourne, with songs such as \"Fashionable Fred\". Leybourne was known for driving around the capital in a carriage drawn by four white ponies; Laburnum used a cart drawn by four donkeys. Laburnum also sang \"Dr De Jongh's Cod Liver Oil\", mocking the use of fashionable new medical remedies. He was known as \"The Star of the East\", a reference to the East End of London.\n\nAlso billed as \"The Royal Comic\", Laburnum toured with his own concert party in later years. He died in London in 1902, aged 54, and was buried at Abney Park Cemetery.\n\nReferences\n\nExternal links\nWalter Laburnum at National Portrait Gallery\n\n1847 births\n1902 deaths\nMusic hall performers"
] |
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"Walter Cronkite",
"Anchor of the CBS Evening News",
"When did Walter join CBS Evening news?",
"but later the CBS Evening News on September 2, 1963,",
"for how long was he the anchor of CBS evening News?",
"Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.",
"What kind of stories did Walter report?",
"A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963.",
"What was he known as during his time at CBS?",
"Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings",
"What were his ratings for the Apollo 11 and Apollo 13 missions?",
"and made CBS the most-watched television network for the missions.",
"When was Walter's last show on CBS Evening News?",
"Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981.",
"Was walter known for saying anything in particular?",
"One of Cronkite's trademarks was ending the CBS Evening News with the phrase \"...And that's the way it is,\""
] |
C_6ff1c1bd96ab4d89bc212590b574ea85_0
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Was he offered another position by another news channel while at CBS?
| 8 |
Was Walter Cronkite offered another position other than anchor by another news channel while at CBS?
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Walter Cronkite
|
On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news. During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored the Huntley-Brinkley Report. For much of the 1960s, the Huntley-Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley-Brinkley Report in viewership during the summer months. In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981. One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981. CANNOTANSWER
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Walter Leland Cronkite Jr. (November 4, 1916 – July 17, 2009) was an American broadcast journalist who served as anchorman for the CBS Evening News for 19 years (1962–1981). During the 1960s and 1970s, he was often cited as "the most trusted man in America" after being so named in an opinion poll. Cronkite reported many events from 1937 to 1981, including bombings in World War II; the Nuremberg trials; combat in the Vietnam War; the Dawson's Field hijackings; Watergate; the Iran Hostage Crisis; and the assassinations of President John F. Kennedy, civil rights pioneer Martin Luther King Jr., and Beatles musician John Lennon. He was also known for his extensive coverage of the U.S. space program, from Project Mercury to the Moon landings to the Space Shuttle. He was the only non-NASA recipient of an Ambassador of Exploration award. Cronkite is known for his departing catchphrase, "And that's the way it is", followed by the date of the broadcast.
Early life and education
Cronkite was born on November 4, 1916, in Saint Joseph, Missouri, the son of Helen Lena (née Fritsche) and Dr. Walter Leland Cronkite, a dentist.
Cronkite lived in Kansas City, Missouri, until he was ten, when his family moved to Houston, Texas. He attended elementary school at Woodrow Wilson Elementary School (now Baker Montessori School), junior high school at Lanier Junior High School (now Lanier Middle School) in Houston, and high school at San Jacinto High School, where he edited the high school newspaper. He was a member of the Boy Scouts. He attended college at the University of Texas at Austin (UT), entering in the Fall term of 1933, where he worked on the Daily Texan and became a member of the Nu chapter of the Chi Phi Fraternity. He also was a member of the Houston chapter of DeMolay, a Masonic fraternal organization for boys. While attending UT, Cronkite had his first taste of performance, appearing in a play with fellow student Eli Wallach. He dropped out in 1935, not returning for the Fall term, in order to concentrate on journalism.
Career
He dropped out of college in his junior year, in the fall term of 1935, after starting a series of newspaper reporting jobs covering news and sports. He entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma. In 1936, he met his future wife, Mary Elizabeth "Betsy" Maxwell, while working as the sports announcer for KCMO (AM) in Kansas City, Missouri. His broadcast name was "Walter Wilcox". He would explain later that radio stations at the time did not want people to use their real names for fear of taking their listeners with them if they left. In Kansas City, he joined the United Press International in 1937.
With his name now established, he received a job offer from Edward R. Murrow at CBS News to join the Murrow Boys team of war correspondents, relieving Bill Downs as the head of the Moscow bureau. CBS offered Cronkite $125 ($2,235 in 2020 money) a week along with "commercial fees" amounting to $25 ($447 in 2020) for almost every time Cronkite reported on air. Up to that point, he had been making $57.50 ($1,027 in 2020) per week at UP, but he had reservations about broadcasting. He initially accepted the offer. When he informed his boss Harrison Salisbury, UP countered with a raise of $17.50 ($312 in 2020) per week; Hugh Baillie also offered him an extra $20 ($357 in 2020) per week to stay. Cronkite ultimately accepted the UP offer, a move which angered Murrow and drove a wedge between them that would last for years.
Cronkite became one of the top American reporters in World War II, covering battles in North Africa and Europe. He was on board starting in Norfolk, Virginia, through her service off the coast of North Africa as part of Operation Torch, and thence back to the US. On the return trip, Cronkite was flown off Texas in one of her Vought OS2U Kingfisher aircraft when Norfolk was within flying distance. He was granted permission to be flown the rest of the distance to Norfolk so that he could outpace a rival correspondent on to return to the US and to issue the first uncensored news reports to be published about Operation Torch. Cronkite's experiences aboard Texas launched his career as a war correspondent. Subsequently, he was one of eight journalists selected by the United States Army Air Forces to fly bombing raids over Germany in a Boeing B-17 Flying Fortress part of group called The Writing 69th, and during a mission fired a machine gun at a German fighter. He also landed in a glider with the 101st Airborne Division in Operation Market Garden and covered the Battle of the Bulge. After the war, he covered the Nuremberg trials and served as the United Press main reporter in Moscow from 1946 to 1948.
Early years at CBS
In 1950, Cronkite joined CBS News in its young and growing television division, again recruited by Murrow. Cronkite began working at WTOP-TV (now WUSA), the CBS affiliate in Washington, D.C.. He originally served as anchor of the network's 15-minute late-Sunday-evening newscast Up To the Minute, which followed What's My Line? at 11:00 pm ET from 1951 through 1962.
Although it was widely reported that the term "anchor" was coined to describe Cronkite's role at both the Democratic and Republican National Conventions, marking the first nationally televised convention coverage, other news presenters bore the title before him. Cronkite anchored the network's coverage of the 1952 presidential election as well as later conventions. In 1964 he was temporarily replaced by the team of Robert Trout and Roger Mudd; this proved to be a mistake, and Cronkite returned to the anchor chair for future political conventions.
From 1953 to 1957, Cronkite hosted the CBS program You Are There, which reenacted historical events, using the format of a news report. His famous last line for these programs was: "What sort of day was it? A day like all days, filled with those events that alter and illuminate our times ... and you were there." In 1971, the show was revived and redesigned to attract an audience of teenagers and young adults, hosted again by Cronkite on Saturday mornings. In 1957, he began hosting The Twentieth Century (eventually renamed The 20th Century), a documentary series about important historical events of the century composed almost exclusively of newsreel footage and interviews. A long-running hit, the show was again renamed as The 21st Century in 1967 with Cronkite hosting speculative reporting on the future for another three years. Cronkite also hosted It's News to Me, a game show based on news events.
During the presidential elections of 1952 and 1956 Cronkite hosted the CBS news-discussion series Pick the Winner.
Another of his network assignments was The Morning Show, CBS' short-lived challenge to NBC's Today in 1954. His on-air duties included interviewing guests and chatting with a lion puppet named Charlemane about the news. He considered this discourse with a puppet as "one of the highlights" of the show. He added, "A puppet can render opinions on people and things that a human commentator would not feel free to utter. I was and I am proud of it." Cronkite also angered the R. J. Reynolds Tobacco Company, the show's sponsor, by grammatically correcting its advertising slogan. Instead of saying "Winston tastes good like a cigarette should" verbatim, he substituted "as" for "like."
He was the lead broadcaster of the network's coverage of the 1960 Winter Olympics, the first-ever time such an event was televised in the United States. He replaced Jim McKay, who had suffered a mental breakdown.
Anchor of the CBS Evening News
On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.
During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored The Huntley–Brinkley Report. For much of the 1960s, The Huntley–Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley–Brinkley Report in viewership during the summer months.
In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 Moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981.
One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981.
Historic moments
Kennedy's assassination
Cronkite is vividly remembered for breaking the news of the assassination of John F. Kennedy on Friday, November 22, 1963. Cronkite had been standing at the United Press International wire machine in the CBS newsroom as the bulletin of the President's shooting broke and he clamored to get on the air to break the news as he wanted CBS to be the first network to do so.
There was a problem facing the crew in the newsroom, however. There was no television camera in the studio at the time as the technical crew was working on it. Eventually, the camera was retrieved and brought back to the newsroom. Because of the magnitude of the story and the continuous flow of information coming from various sources, time was of the essence but the camera would take at least twenty minutes to become operational under normal circumstances. The decision was made to dispatch Cronkite to the CBS Radio Network booth to report the events and play the audio over the television airwaves while the crew worked on the camera to see if they could get it set up quicker.
Meanwhile, CBS was ten minutes into its live broadcast of the soap opera As the World Turns (ATWT), which had begun at the very minute of the shooting. A "CBS News Bulletin" bumper slide abruptly broke into the broadcast at 1:40 pm EST. Over the slide, Cronkite began reading what would be the first of three audio-only bulletins that were filed in the next twenty minutes:
While Cronkite was reading this bulletin, a second one arrived, mentioning the severity of Kennedy's wounds:
Just before the bulletin cut out, a CBS News staffer was heard saying "Connally too," apparently having just heard the news that Texas Governor John Connally had also been shot while riding in the presidential limousine with his wife Nellie and Mr. and Mrs. Kennedy.
CBS then rejoined the telecast of ATWT during a commercial break, which was followed by show announcer Dan McCullough's usual fee plug for the first half of the program and the network's 1:45 pm station identification break. Just before the second half of ATWT was to begin, the network broke in with the bumper slide a second time. In this bulletin Cronkite reported in greater detail about the assassination attempt on the President, while also breaking the news of Governor Connally's shooting.
Cronkite then recapped the events as they had happened: that the President and Governor Connally had been shot and were in the emergency room at Parkland Hospital, and no one knew their condition as yet. CBS then decided to return to ATWT, which was now midway through its second segment.
The cast had continued to perform live while Cronkite's bulletins broke into the broadcast, unaware of the unfolding events in Dallas. ATWT then took another scheduled commercial break. The segment before the break would be the last anyone would see of any network's programming until Tuesday, November 26. During the commercial, the bumper slide interrupted the proceedings again and Cronkite updated the viewers on the situation in Dallas. This bulletin went into more detail than the other two, revealing that Kennedy had been shot in the head, Connally in the chest. Cronkite remained on the air for the next ten minutes, continuing to read bulletins as they were handed to him, and recapping the events as they were known. He also related a report given to reporters by Texas Congressman Albert Thomas that the President and Governor were still alive, the first indication of their condition. At 2:00 pm EST, with the top of the hour station break looming, Cronkite told the audience that there would be a brief pause so that all of CBS' affiliates, including those in the Mountain and Pacific time zones which were not on the same schedule, could join the network. He then left the radio booth and went to the anchor desk in the newsroom.
Within twenty seconds of the announcement, every CBS affiliate except Dallas' KRLD (which was providing local coverage) was airing the network's feed. The camera was finally operational by this time and enabled the audience to see Cronkite, who was clad in shirt and tie but without his suit coat, given the urgent nature of the story. Cronkite reminded the audience, again, of the attempt made on the life of the President and tossed to KRLD news director Eddie Barker at the Dallas Trade Mart, where Kennedy was supposed to be making a speech before he was shot. Barker relayed information that Kennedy's condition was extremely critical. Then, after a prayer for Kennedy, Barker quoted an unofficial report that the President was dead but stressed it was not confirmed.
After several minutes, the coverage came back to the CBS newsroom where Cronkite reported that the President had been given blood transfusions and two priests had been called into the room. He also played an audio report from KRLD that someone had been arrested in the assassination attempt at the Texas School Book Depository. Back in Dallas Barker announced another report of the death of the President, mentioning that it came from a reliable source. Before the network left KRLD's feed for good, Barker first announced, then retracted, a confirmation of Kennedy's death.
CBS cut back to Cronkite reporting that one of the priests had administered last rites to the president. In the next few minutes, several more bulletins reporting that Kennedy had died were given to Cronkite, including one from CBS's own correspondent Dan Rather that had been reported as confirmation of Kennedy's demise by CBS Radio. As these bulletins came into the newsroom, it was becoming clearer that Kennedy had in fact lost his life. Cronkite, however, stressed that these bulletins were simply reports and not any official confirmation of the President's condition; some of his colleagues recounted in 2013 that his early career as a wire service reporter taught him to wait for official word before reporting a story. Still, as more word came in, Cronkite seemed to be resigned to the fact that it was only a matter of time before the assassination was confirmed. He appeared to concede this when, several minutes after he received the Rather report, he received word that the two priests who gave the last rites to Kennedy told reporters on the scene that he was dead. Cronkite said that report "seems to be as close to official as we can get", but would not declare it as such. Nor did he do so with a report from Washington, DC that came moments later, which said that government sources were now reporting the President was dead (this information was passed on to ABC as well, which took it as official confirmation and reported it as such; NBC did not report this information at all and chose instead to rely on reports from Charles Murphy and Robert MacNeil to confirm their suspicions).
At 2:38 pm EST, while filling in time with some observations about the security presence in Dallas, which had been increased due to violent acts against United Nations Ambassador Adlai Stevenson in the city earlier that year, Cronkite was handed a new bulletin. After looking it over for a moment, he took off his glasses, and made the official announcement:
After making that announcement, Cronkite paused briefly, put his glasses back on, and swallowed hard to maintain his composure. With noticeable emotion in his voice he intoned the next sentence of the news report:
With emotion still in his voice and eyes watering, Cronkite once again recapped the events after collecting himself, incorporating some wire photos of the visit and explaining the significance of the pictures now that Kennedy was dead. He reminded the viewers that Vice President Johnson was now the President and was to be sworn in, that Governor Connally's condition was still unknown, and that there was no report of whether the assassin had been captured. He then handed the anchor position to Charles Collingwood, who had just entered the newsroom, took his suit coat, and left the room for a while.
At about 3:30 pm EST, Cronkite came back into the newsroom to relay some new information. The two major pieces of information involved the Oath of Office being administered to now-President Johnson, which officially made him the thirty-sixth President, and that Dallas police had arrested a man named Lee Harvey Oswald whom they suspected had fired the fatal shots. After that, Cronkite left again to begin preparing for that night's CBS Evening News, which he returned to anchor as normal. For the next four days, along with his colleagues, Cronkite continued to report segments of uninterrupted coverage of the assassination, including the announcement of Oswald's death in the hands of Jack Ruby on Sunday. The next day, on the day of the funeral, Cronkite concluded CBS Evening News with the following assessment about the events of the last four dark days:
Referring to his coverage of Kennedy's assassination, in a 2006 TV interview with Nick Clooney, Cronkite recalled,
In a 2003 CBS special commemorating the 40th anniversary of the assassination, Cronkite recalled his reaction upon having the death confirmed to him, he said,
According to historian Douglas Brinkley, Cronkite provided a sense of perspective throughout the unfolding sequence of disturbing events.
Vietnam War
In mid-February 1968, on the urging of his executive producer Ernest Leiser, Cronkite and Leiser journeyed to Vietnam to cover the aftermath of the Tet Offensive. They were invited to dine with General Creighton Abrams, the commander of all forces in Vietnam, whom Cronkite knew from World War II. According to Leiser, Abrams told Cronkite, "we cannot win this Goddamned war, and we ought to find a dignified way out."
Upon return, Cronkite and Leiser wrote separate editorial reports based on that trip. Cronkite, an excellent writer, preferred Leiser's text over his own. On February 27, 1968, Cronkite closed "Report from Vietnam: Who, What, When, Where, Why?" with that editorial report:
Following Cronkite's editorial report, President Lyndon B. Johnson is claimed by some to have said, "If I've lost Cronkite, I've lost Middle America." However, this account of Johnson has been questioned by other observers in books on journalistic accuracy. At the time the editorial aired, Johnson was in Austin, Texas, attending Texas Governor John Connally's birthday gala and was giving a speech in his honor.
In his book This Just In: What I Couldn't Tell You on TV, CBS News correspondent Bob Schieffer, who was serving as a reporter for the Fort Worth Star-Telegram when Cronkite's editorial aired, acknowledged that Johnson did not see the original broadcast but also defended the allegation that Johnson had made the remark. According to Schieffer, Johnson's aide George Christian "told me that the President apparently saw some clips of it the next day" and that "That's when he made the remark about Cronkite. But he knew then that it would take more than Americans were willing to give it." When asked about the remark during a 1979 interview, Christian claimed he had no recollection about what the President had said. In his 1996 memoir A Reporter's Life, Cronkite claimed he was at first unsure about how much of an impact his editorial report had on Johnson's decision to drop his bid for re-election, and what eventually convinced him the President had made the statement was a recount from Bill Moyers, a journalist and former aide to Johnson.
Several weeks later, Johnson, who sought to preserve his legacy and was now convinced his declining health could not withstand growing public criticism, announced he would not seek reelection.
During the 1968 Democratic National Convention in Chicago, Cronkite was anchoring the CBS network coverage as violence and protests occurred outside the convention, as well as scuffles inside the convention hall. When Dan Rather was punched to the floor (on camera) by security personnel, Cronkite commented, "I think we've got a bunch of thugs here, Dan."
Other historic events
The first publicly transmitted live trans-Atlantic program was broadcast via the Telstar satellite on July 23, 1962, at 3:00 pm EDT, and Cronkite was one of the main presenters in this multinational broadcast. The broadcast was made possible in Europe by Eurovision and in North America by NBC, CBS, ABC, and the CBC. The first public broadcast featured CBS's Cronkite and NBC's Chet Huntley in New York, and the BBC's Richard Dimbleby in Brussels. Cronkite was in the New York studio at Rockefeller Plaza as the first pictures to be transmitted and received were the Statue of Liberty in New York and the Eiffel Tower in Paris. The first segment included a televised major league baseball game between the Philadelphia Phillies and the Chicago Cubs at Wrigley Field. From there, the video switched first to Washington, D.C.; then to Cape Canaveral, Florida; then to Quebec City, Quebec, and finally to Stratford, Ontario. The Washington segment included a press conference with President Kennedy, talking about the price of the American dollar, which was causing concern in Europe. This broadcast inaugurated live intercontinental news coverage, which was perfected later in the sixties with Early Bird and other Intelsat satellites.
General of the Army Dwight D. Eisenhower returned to his former Supreme Headquarters Allied Expeditionary Force (SHAEF) headquarters for an interview by Cronkite on the CBS News Special Report D-Day + 20, telecast on June 6, 1964.
Cronkite is also remembered for his coverage of the United States space program, and at times was visibly enthusiastic, rubbing his hands together on camera with a smile and uttering, "Whew...boy" on July 20, 1969, when the Apollo 11 lunar landing mission put the first men on the Moon.
Cronkite participated in Richard Nixon's 1972 visit to China. Because Cronkite was colorblind, he had to ask others what color of coat First Lady Pat Nixon was wearing when they disembarked in Peking (Beijing).
According to the 2006 PBS documentary on Cronkite, there was "nothing new" in his reports on the Watergate affair; however, Cronkite brought together a wide range of reporting, and his credibility and status is credited by many with pushing the Watergate story to the forefront with the American public, ultimately resulting in the resignation of President Richard M. Nixon on August 9, 1974. Cronkite had anchored the CBS coverage of Nixon's address, announcing his impending resignation, the night before.
The January 22, 1973, broadcast of the CBS Evening News saw Cronkite break the news of the death of another notable American political figure: former president Lyndon B. Johnson. At approximately 6:38 pm Eastern Time, while a pre-recorded report that the Vietnam peace talks in Paris had been successful was being played for the audience, Cronkite received a telephone call in the studio while off camera. The call was from Tom Johnson, the former press secretary for President Johnson who was at the time serving the former chief executive as station manager at KTBC-TV in Austin, Texas, which was affiliated with CBS at the time and was owned by the Johnson family. During the conversation the production staff cut away from the report back to the live camera in studio as Cronkite was still on the phone. After he was made aware that he was back on camera, Cronkite held up a finger to let everyone watching know he required a moment to let Johnson finish talking. Once Cronkite got what he needed, he thanked Johnson and asked him to stay on the line. He then turned to the camera and began to relay what Johnson had said to him.
During the final ten minutes of that broadcast, Cronkite reported on the death, giving a retrospective on the life of the nation's 36th president, and announced that CBS would air a special on Johnson later that evening. This story was re-told on a 2007 CBS-TV special honoring Cronkite's 90th birthday.
NBC-TV's Garrick Utley, anchoring NBC Nightly News that evening, also interrupted his newscast in order to break the story, doing so about three minutes after Cronkite on CBS. The news was not reported on that night's ABC Evening News, which was anchored by Howard K. Smith and Harry Reasoner, because ABC at the time fed their newscast live at 6:00 pm Eastern instead of 6:30 to get a head start on CBS and NBC for those stations that aired ABC Evening News live (although not every affiliate did).
On November 22, 1963, Cronkite introduced The Beatles to the United States by airing a four-minute story about the band on CBS Morning News. The story was scheduled to be shown again on the CBS Evening News that same day, but the assassination of John F. Kennedy prevented the broadcast of the regular evening news. The Beatles story was aired on the evening news program on December 10.
Retirement
On February 14, 1980, Cronkite announced that he intended to retire from the CBS Evening News; at the time, CBS had a policy of mandatory retirement by age 65. Although sometimes compared to a father figure or an uncle figure, in an interview about his retirement he described himself as being more like a "comfortable old shoe" to his audience. His last day in the anchor chair at the CBS Evening News was on March 6, 1981; he was succeeded the following Monday by Dan Rather.
Cronkite's farewell statement:
On the eve of Cronkite's retirement, he appeared on The Tonight Show hosted by Johnny Carson. The following night, Carson did a comic spoof of his on-air farewell address.
Other activities
Post-CBS Evening News
As he had promised on his last show as anchor in 1981, Cronkite continued to broadcast occasionally as a special correspondent for CBS, CNN, and NPR into the 21st century; one such occasion was Cronkite anchoring the second space flight by John Glenn in 1998 as he had Glenn's first in 1962. Cronkite hosted Universe until its cancellation in 1982. In 1983, he reported on the British general election for the ITV current affairs series World In Action, interviewing, among many others, the victorious Prime Minister, Margaret Thatcher. Cronkite hosted the annual Vienna New Year's Concert on PBS from 1985 to 2008, succeeded by Julie Andrews in 2009. For many years, until 2002, he was also the host of the annual Kennedy Center Honors.
In 1998, Cronkite hosted the 90-minute documentary, Silicon Valley: A 100 Year Renaissance, produced by the Santa Clara Valley Historical Association. The film documented Silicon Valley's rise from the origin of Stanford University to the current high-technology powerhouse. The documentary was broadcast on PBS throughout the United States and in 26 countries. Prior to 2004, he could also be seen in the opening movie "Back to Neverland" shown in the Walt Disney World attraction The Magic of Disney Animation, interviewing Robin Williams as if he is still on the CBS News channel, ending his on-camera time with Cronkite's famous catchphrase. In the feature, Cronkite describes the steps taken in the creation of an animated film, while Williams becomes an animated character (and even becomes Cronkite, impersonating his voice). He also was shown inviting Disney guests and tourists to the Disney Classics Theater.
On May 21, 1999, Cronkite participated in a panel discussion on "Integrity in the Media" with Ben Bradlee and Mike McCurry at the Connecticut Forum in Hartford, Connecticut. Cronkite provided an anecdote about taking a picture from a house in Houston, Texas, where a newsworthy event occurred and being praised for getting a unique photograph, only to find out later that the city desk had provided him with the wrong address.
Voice-overs
Cronkite narrated the IMAX film about the Space Shuttle, The Dream is Alive, released in 1985. From May 26, 1986, to August 15, 1994, he was the narrator's voice in the EPCOT Center attraction Spaceship Earth, at Walt Disney World in Orlando, Florida. He provided the pivotal voice of Captain Neweyes in the 1993 animated film We're Back: A Dinosaur's Story, delivering his trademark line at the end. In 1995, he made an appearance on Broadway, providing the voice of the titular book in the 1995 revival of How to Succeed in Business Without Really Trying.
Cronkite was a finalist for NASA's Journalist in Space program, which mirrored the Teacher in Space Project, an opportunity that was suspended after the Challenger disaster in 1986. He recorded voice-overs for the 1995 film Apollo 13, modifying the script he was given to make it more "Cronkitian." In 2002, Cronkite was the voice of Benjamin Franklin in the educational television cartoon Liberty's Kids, which included a news segment ending with the same phrase he did back on the CBS Evening News. This role earned him Daytime Emmy nominations for Outstanding Performer in a Children's Series, in 2003 and 2004, but he did not win. His distinctive voice provided the narration for the television ads of the University of Texas, Austin, his alma mater, with its 'We're Texas' ad campaign.
He held amateur radio operator license KB2GSD and narrated a 2003 American Radio Relay League documentary explaining amateur radio's role in disaster relief. The video tells Amateur Radio's public service story to non-hams, focusing on ham radio's part in helping various agencies respond to wildfires in the Western US during 2002, ham radio in space and the role Amateur Radio plays in emergency communications. "Dozens of radio amateurs helped the police and fire departments and other emergency services maintain communications in New York, Pennsylvania and Washington, DC," narrator Cronkite intoned in reference to ham radio's response to the terrorist attacks on September 11, 2001. Unusually, Cronkite was a Novice-class licensee—the entry level license—for his entire, and long, tenure in the hobby.
On February 15, 2005, he went into the studio at CBS to record narration for WCC Chatham Radio, a documentary about Guglielmo Marconi and his Chatham station, which became the busiest ship-to-shore wireless station in North America from 1914 to 1994. The documentary was directed by Christopher Seufert of Mooncusser Films and premiered at the Chatham Marconi Maritime Center in April 2005. In 2006, Cronkite hosted the World War One Living History Project, a program honoring America's final handful of veterans from the First World War. The program was created by Treehouse Productions and aired on NPR on November 11, 2006. In May 2009, Legacy of War, produced by PBS, was released. Cronkite chronicles, over archive footage, the events following World War II that resulted in America's rise as the dominant world power.
Prior to his death, "Uncle Walter" hosted a number of TV specials and was featured in interviews about the times and events that occurred during his career as America's "most trusted" man. In July 2006, the 90-minute documentary Walter Cronkite: Witness to History aired on PBS. The special was narrated by Katie Couric, who assumed the CBS Evening News anchor chair in September 2006. Cronkite provided the voiceover introduction to Couric's CBS Evening News, which began on September 5, 2006. Cronkite's voiceover was notably not used on introducing the broadcast reporting his funeral – no voiceover was used on this occasion.
TV and movie appearances
Cronkite made a cameo appearance on a 1974 episode of The Mary Tyler Moore Show, in which he met with Lou Grant in his office. Ted Baxter, who at first tried to convince Cronkite that he (Baxter) was as good a newsman as Eric Sevareid, pleaded with Cronkite to hire him for the network news, at least to give sport scores, and gave an example: "The North Stars 3, the Kings Oh!" Cronkite turned to Grant and said, "I'm gonna get you for this!" Cronkite later said that he was disappointed that his scene was filmed in one take, since he had hoped to sit down and chat with the cast.
In the late 1980s and again in the 1990s, Cronkite appeared on the news-oriented situation comedy Murphy Brown as himself. Both episodes were written by the Emmy Award-winning team of Tom Seeley and Norm Gunzenhauser. He also continued hosting a variety of series. In the early 1980s, he was host of the documentary series World War II with Walter Cronkite. In 1991, he hosted the TV documentary Dinosaur! on A&E (not related to the documentary of the same title hosted by Christopher Reeve on CBS six years earlier), and a 1994 follow-up series, Ape Man: The Story of Human Evolution. In 1995, he narrated the World Liberty Concert held in the Netherlands.
Cronkite routinely hosted the Kennedy Center Honors from 1981 to 2002.
Cronkite appeared briefly in the 2005 dramatic documentary The American Ruling Class written by Lewis Lapham; the 2000 film Thirteen Days reporting on the Cuban Missile Crisis; and provided the opening synopsis of the American Space Program leading to the events in Apollo 13 for the 1995 Ron Howard film of the same name.
Political activism
Cronkite wrote a syndicated opinion column for King Features Syndicate. In 2005 and 2006, he contributed to The Huffington Post. Cronkite was the honorary chairman of The Interfaith Alliance. In 2006, he presented the Walter Cronkite Faith and Freedom Award to actor and activist George Clooney on behalf of his organization at its annual dinner in New York.
Cronkite was a vocal advocate for free airtime for political candidates. He worked with the Alliance for Better Campaigns and Common Cause, for instance, on an unsuccessful lobbying effort to have an amendment added to the McCain-Feingold-Shays-Meehan Campaign Finance Reform Act of 2001 that would have required TV broadcast companies to provide free airtime to candidates. Cronkite criticized the present system of campaign finance which allows elections to "be purchased" by special interests, and he noted that all the European democracies "provide their candidates with extensive free airtime." "In fact," Cronkite pointed out, "of all the major nations worldwide that profess to have democracies, only seven – just seven – do not offer free airtime" This put the United States on a list with Ecuador, Honduras, Malaysia, Taiwan, Tanzania, and Trinidad and Tobago. Cronkite concluded that "The failure to give free airtime for our political campaigns endangers our democracy." During the elections held in 2000, the amount spent by candidates in the major TV markets approached $1 billion. "What our campaign asks is that the television industry yield just a tiny percentage of that windfall, less than 1 percent, to fund free airtime."
He was a member of the Constitution Project's bipartisan Liberty and Security Committee. He also supported the nonprofit world hunger organization Heifer International.
In 1998, he supported President Bill Clinton during Clinton's impeachment trial. He was also a proponent of limited world government on the American federalist model, writing fundraising letters for the World Federalist Association (now Citizens for Global Solutions). In accepting the 1999 Norman Cousins Global Governance Award at the ceremony at the United Nations, Cronkite said:
It seems to many of us that if we are to avoid the eventual catastrophic world conflict we must strengthen the United Nations as a first step toward a world government patterned after our own government with a legislature, executive and judiciary, and police to enforce its international laws and keep the peace. To do that, of course, we Americans will have to yield up some of our sovereignty. That would be a bitter pill. It would take a lot of courage, a lot of faith in the new order. But the American colonies did it once and brought forth one of the most nearly perfect unions the world has ever seen.
Cronkite contrasted his support for accountable global government with the opposition to it by politically active Christian fundamentalists in the United States:
Even as with the American rejection of the League of Nations, our failure to live up to our obligations to the United Nations is led by a handful of willful senators who choose to pursue their narrow, selfish political objectives at the cost of our nation's conscience. They pander to and are supported by the Christian Coalition and the rest of the religious right wing. Their leader, Pat Robertson, has written that we should have a world government but only when the messiah arrives. Any attempt to achieve world order before that time must be the work of the Devil! Well join me... I'm glad to sit here at the right hand of Satan.
In 2003, Cronkite, who owned property on Martha's Vineyard, became involved in a long-running debate over his opposition to the construction of a wind farm in that area. In his column, he repeatedly condemned President George W. Bush and the 2003 invasion of Iraq. Cronkite appeared in the 2004 Robert Greenwald film Outfoxed, where he offered commentary on what he said were unethical and overtly political practices at the Fox News Channel. Cronkite remarked that when Fox News was founded by Rupert Murdoch, "it was intended to be a conservative organization – beyond that; a far-right-wing organization". In January 2006, during a press conference to promote the PBS documentary about his career, Cronkite said that he felt the same way about America's presence in Iraq as he had about their presence in Vietnam in 1968 and that he felt America should recall its troops.
Cronkite spoke out against the War on Drugs in support of the Drug Policy Alliance, writing a fundraising letter and appearing in advertisements on behalf of the DPA. In the letter, Cronkite wrote: "Today, our nation is fighting two wars: one abroad and one at home. While the war in Iraq is in the headlines, the other war is still being fought on our own streets. Its casualties are the wasted lives of our own citizens. I am speaking of the war on drugs. And I cannot help but wonder how many more lives, and how much more money, will be wasted before another Robert McNamara admits what is plain for all to see: the war on drugs is a failure."
Personal life
Cronkite was married for nearly 65 years to Mary Elizabeth 'Betsy' Maxwell Cronkite, from March 30, 1940, until her death from cancer on March 15, 2005. They had three children: Nancy Cronkite, Mary Kathleen (Kathy) Cronkite, and Walter Leland (Chip) Cronkite III (who is married to actress Deborah Rush). Cronkite dated singer Joanna Simon from 2005 to 2009.
A grandson, Walter Cronkite IV, now works at CBS. Cronkite's cousin is former Mayor of Kansas City and 2008 Democratic nominee for Missouri's 6th congressional district Kay Barnes.
Cronkite was an accomplished sailor and enjoyed sailing coastal waters of the United States in his custom-built 48-foot Sunward "Wyntje". Cronkite was a member of the United States Coast Guard Auxiliary, with the honorary rank of commodore. Throughout the 1950s, he was an aspiring sports car racer, even racing in the 1959 12 Hours of Sebring.
Cronkite was reported to be a fan of the game Diplomacy, which was rumored to be Henry Kissinger's favorite game.
Death
In June 2009, Cronkite was reported to be terminally ill. He died on July 17, 2009, at his home in New York City aged 92. He is believed to have died from cerebrovascular disease.
Cronkite's funeral took place on July 23, 2009, at St. Bartholomew's Church in midtown Manhattan, New York City. Among many journalists who attended were Tom Brokaw, Connie Chung, Katie Couric, Charles Gibson, Matt Lauer, Dan Rather, Andy Rooney, Morley Safer, Diane Sawyer, Bob Schieffer, Meredith Vieira, Barbara Walters, and Brian Williams. At his funeral, his friends noted his love of music, including, recently, drumming. He was cremated and his remains buried next to his wife, Betsy, in the family plot in Kansas City.
Legacy
Public credibility and trustworthiness
For many years, until a decade after he left his post as anchor, Cronkite was considered one of the most trusted figures in the United States. For most of his 19 years as anchor, he was the "predominant news voice in America." Affectionately known as "Uncle Walter," he covered many of the important news events of the era so effectively that his image and voice are closely associated with the Cuban Missile Crisis, the assassination of President John F. Kennedy, the Vietnam War, the Apollo 11 Moon landing, and the Watergate scandal. USA Today wrote that "few TV figures have ever had as much power as Cronkite did at his height." Enjoying the cult of personality surrounding Cronkite in those years, CBS allowed some good-natured fun-poking at its star anchorman in some episodes of the network's popular situation comedy All in the Family, during which the lead character Archie Bunker would sometimes complain about the newsman, calling him "Pinko Cronkite."
Cronkite trained himself to speak at a rate of 124 words per minute in his newscasts, so that viewers could clearly understand him. In contrast, Americans average about 165 words per minute, and fast, difficult-to-understand talkers speak close to 200 words per minute.
Awards and honors
In 1968, the faculty of the E. W. Scripps School of Journalism at Ohio University voted to award Cronkite the Carr Van Anda Award "for enduring contributions to journalism." In 1970, Cronkite received a "Freedom of the Press" George Polk Award and the Paul White Award from the Radio Television Digital News Association.
In 1972, in recognition of his career, Princeton University's American Whig-Cliosophic Society awarded Cronkite the James Madison Award for Distinguished Public Service.
In 1981, the year he retired, former president Jimmy Carter awarded Cronkite the Presidential Medal of Freedom. In that year, he also received the S. Roger Horchow Award for Greatest Public Service by a Private Citizen, an award given out annually by Jefferson Awards, and the Paul White Award for lifetime achievement from the Radio Television Digital News Association. In 1985, Cronkite was honored with the induction into the Academy of Television Arts and Sciences Hall of Fame. In 1989 he received the Four Freedoms Award for the Freedom of Speech. He was elected to the American Philosophical Society in 1994. In 1995, he received the Ischia International Journalism Award. In 1999, Cronkite received the Rotary National Award for Space Achievement's Corona Award in recognition of a lifetime of achievement in space exploration. He was elected a Fellow of the American Academy of Arts and Sciences in 2003. On March 1, 2006, Cronkite became the first non-astronaut to receive NASA's Ambassador of Exploration Award. Among Cronkite's numerous awards were four Peabody awards for excellence in broadcasting.
In 2003, Cronkite was honored by the Vienna Philharmonic with the Franz Schalk Gold Medal, in view of his contributions to the New Year's Concert and the cultural image of Austria.
Minor planet 6318 Cronkite, discovered in 1990 by Eleanor Helin is named in his honor.
Cronkite School at Arizona State University
A few years after Cronkite retired, Tom Chauncey, a former owner of KOOL-TV, the then-CBS affiliate in Phoenix, contacted Cronkite, an old friend, and asked him if he would be willing to have the journalism school at Arizona State University named after him. Cronkite immediately agreed. The ASU program acquired status and respect from its namesake.
Cronkite was not just a namesake, but he also took the time to interact with the students and staff of the Walter Cronkite School of Journalism and Mass Communication. Cronkite made the trip to Arizona annually to present the Walter Cronkite Award for Excellence in Journalism to a leader in the field of media.
"The values that Mr. Cronkite embodies – excellence, integrity, accuracy, fairness, objectivity – we try to instill in our students each and every day. There is no better role model for our faculty or our students," said Dean Christopher Callahan.
The school, with approximately 1,700 students, is widely regarded as one of the top journalism schools in the country. It is housed in a new facility in downtown Phoenix that is equipped with 14 digital newsrooms and computer labs, two TV studios, 280 digital student work stations, the Cronkite Theater, the First Amendment Forum, and new technology. The school's students regularly finish at the top of national collegiate journalism competitions, such as the Hearst Journalism Awards program and the Society of Professional Journalists Mark of Excellence Awards. In 2009, students won the Robert F. Kennedy Journalism Award for college print reporting.
In 2008, the state-of-the-art journalism education complex in the heart of ASU's Downtown Phoenix campus was also built in his honor. The Walter Cronkite Regents Chair in Communication seats the Texas College of Communications dean.
Walter Cronkite Papers
The Walter Cronkite papers are preserved at the curatorial Dolph Briscoe Center for American History at the University of Texas at Austin. Occupying 293 linear feet (almost 90 metres) of shelf space, the papers document Cronkite's journalism career. Amongst the collected material are Cronkite's early beginnings while he still lived in Houston. They encompass his coverage of World War II as a United Press International correspondent, where he cemented his reputation by taking on hazardous overseas assignments. During this time he also covered the Nuremberg war crimes trial serving as the chief of the United Press bureau in Moscow. The main content of the papers documents Cronkite's career with CBS News between 1950 and 1981.
The Cronkite Papers assemble a variety of interviews with U.S. presidents, including Herbert Hoover, Harry Truman, and Ronald Reagan. President Lyndon Johnson requested a special interview with Cronkite while he was broadcasting live on CBS.
Between 1990 and 1993, Don Carleton, executive director for the Center for American History, assisted Cronkite as he compiled an oral history to write his autobiography, A Reporter's Life, which was published in 1996. The taped memoirs became an integral part of an eight-part television series Cronkite Remembers, which was shown on the Discovery Channel.
As a newsman, Cronkite devoted his attention to the early days of the space program, and the "space race" between the United States and the Soviet Union. The National Aeronautics and Space Administration honored Cronkite on February 28, 2006. Michael Coats, director of NASA's Lyndon B. Johnson Space Center in Houston, presented Cronkite with the Ambassador of Exploration Award. Cronkite was the first non-astronaut thus honored.
NASA presented Cronkite with a Moon rock sample from the early Apollo expeditions spanning 1969 to 1972. Cronkite passed on the Moon rock to Bill Powers, president of the University of Texas at Austin, and it became part of the collection at the Dolph Briscoe Center for American History. Carleton said at this occasion, "We are deeply honored by Walter Cronkite's decision to entrust this prestigious award to the Center for American History. The Center already serves as the proud steward of his professional and personal papers, which include his coverage of the space program for CBS News. It is especially fitting that the archive documenting Walter's distinguished career should also include one of the moon rocks that the heroic astronauts of the Apollo program brought to Earth."
Memorial at Missouri Western State University
On November 4, 2013, Missouri Western State University in St. Joseph, Missouri, dedicated the Walter Cronkite Memorial. The nearly 6,000 square-foot memorial includes images, videos and memorabilia from Cronkite's life and the many events he covered as a journalist. The memorial includes a replica of the newsroom from which Cronkite broadcast the news during the 1960s and 1970s. In 2014, the Memorial received the Missouri Division of Tourism's Spotlight Award.
Books
The Challenges of Change (1971). Washington: Public Affairs Press. .
Eye on the World (1971). New York: Cowles Book Co. .
A Reporter's Life (1996). New York: Alfred A. Knopf. .
See also
New Yorkers in journalism
Walter Cronkite School of Journalism and Mass Communication
References
Further reading
Menand, Louis, "Seeing It Now: Walter Cronkite and the legend of CBS News", The New Yorker, July 9, 2012
External links
"Walter Cronkite, 92, Dies; Trusted Voice of TV News", The New York Times (July 17, 2009)
The Walter Cronkite Papers at the University of Texas at Austin
FBI Records: The Vault - Walter Leland Cronkite at vault.fbi.gov
1916 births
2009 deaths
20th-century American journalists
American male journalists
60 Minutes correspondents
Amateur radio people
American broadcast news analysts
American game show hosts
American television news anchors
American television reporters and correspondents
CBS News people
Drug policy reform activists
Fellows of the American Academy of Arts and Sciences
Journalists from Houston
Oklahoma Sooners football announcers
Peabody Award winners
People from St. Joseph, Missouri
Presidential Medal of Freedom recipients
San Jacinto High School alumni
Space advocates
Moody College of Communication alumni
American war correspondents of the Vietnam War
American war correspondents of World War II
20th-century American Episcopalians
Recipients of Ischia International Journalism Award
Members of the American Philosophical Society
United States Coast Guard Auxiliary officers
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[
"KPSP-CD, virtual channel 38 (UHF digital channel 18), is a low-powered, Class A CBS-affiliated television station licensed to Cathedral City, California, United States, serving Palm Springs and the Coachella Valley. Owned by the St. Joseph, Missouri-based News-Press & Gazette Company, it is sister to Palm Springs-licensed ABC affiliate KESQ-TV (channel 42) and four other low-power stations: Class A Fox affiliate KDFX-CD (channel 33, licensed to both Indio and Palm Springs), Palm Springs-licensed CW affiliate KCWQ-LD (channel 2), Indio-licensed Telemundo affiliate KUNA-LD (channel 15), and low-powered AccuWeather affiliate KYAV-LD (channel 12). The six stations share studios on Dunham Way in Thousand Palms; KPSP-CD's transmitter is located on Edom Hill northeast of Cathedral City and I-10.\n\nAlong with other major Coachella Valley television stations, KPSP identifies itself on-air using its cable designation (CBS Local 2) rather than its over-the-air channel position. The unusual practice stems in part from the area's exceptionally high cable penetration rate of 80.5% which is one of the highest in the United States.\n\nIn addition to its own digital signal, KPSP is simulcast in standard definition on KESQ's second digital subchannel (virtual and UHF channel 42.2) from the same Edom Hill transmitter facility.\n\nHistory\n\nThe station launched September 2, 2002 and aired an analog signal on UHF channel 38. Prior to its sign-on as the Coachella Valley's first ever CBS affiliate, programming from the network came into the market via cable or antenna (in some areas) through Los Angeles flagship owned-and-operated station KCBS-TV. When KPSP went on-the-air, area cable companies displaced KCBS at that outlet's request. KPSP adopted the \"CBS 2\" moniker following the practice of major local competitors in using its cable designation for branding purposes.\n\nOn April 1, 2008, it switched from branding itself \"CBS 2\" to \"KPSP Local 2\" although the \"CBS 2\" logo was retained for several months afterwards. On January 31, 2012, KPSP was sold by Desert Television to the News-Press & Gazette Company becoming a sister station to KESQ. It moved from its own studios on Dunham Way in Thousand Palms to KESQ's facility in Palm Desert. KPSP's transmitter on 38.1, went silent at midnight on March 1, 2012; the station's license was not initially included in the deal. CBS programming is now broadcast on 42.2 on the KESQ-DT digital tier and the lineup has not changed. In January 2013, News Press & Gazette acquired the KPSP-CD license, as well as KYAV-LD, from Desert Television. The Class A channel 38 digital transmitter was turned back on on February 7, allowing CBS programming to be shown over the air in 1080i high definition for the first time in nearly a year. NPG's acquisition of the Desert Television assets was completed on April 26.\n\nDigital television\n\nDigital channels\nThe station's digital signal is multiplexed:\n\nProgramming\nSyndicated programming on KPSP includes The Good Dish, 25 Words or Less, You Bet Your Life, and Dr. Phil among others. The station also airs syndicated reruns of The Big Bang Theory and its spin-off Young Sheldon, both of which first-ran on CBS.\n\nNews operation\n\nAt one point while operating as a separate entity, KPSP aired its early weeknight newscast from 5:00 to 6:30 advertising the slot as a single 90-minute newscast. The CBS Evening News would therefore be seen in the regular time period at 6:30. The station would eventually move the CBS Evening News to 5:30 p.m.\n\nAfter KPSP was acquired by KESQ, this station had its operations temporarily merged into that outlet's facility. Local news offerings on both outlets were adjusted as a result. Later, both stations moved back to the Dunham Way location and operated separately out of different studios for seven years. On December 2, 2018, the CBS Local 2 news brand was discontinued and all news offerings on CBS Local 2 were offered under a unified News Channel 3 branding. The staff previously assigned to CBS Local 2 newscasts were folded into the News Channel 3 brand on all stations. On April 24, 2019, the space previously occupied by the CBS Local 2 news set was launched with a new set supporting the local Telemundo affiliate's Spanish newscasts.\n\nFox affiliate KDFX-CD airs a nightly hour prime time newscast at 10:00 produced by KESQ featuring the News Channel 3 branding and anchors. The program competes with low-powered MyNetworkTV affiliate KPSG-LP (now KPSE-LD), which had local news seen for thirty minutes at the same time produced by rival NBC affiliate KMIR-TV.\n\nNotable former staff\nAdrianna Costa (has since worked as Entertainment Reporter for Good Day L.A., E! Network, CNN, TV Guide Network, Access Hollywood and Extra.)\nRich Fields (former announcer of The Price Is Right on CBS and now at KCBS-TV/KCAL-TV, Los Angeles)\n\nSee also\nChannel 2 branded TV stations in the United States\nChannel 18 digital TV stations in the United States\nChannel 18 low-power TV stations in the United States\nChannel 38 virtual TV stations in the United States\n\nReferences\n\nExternal links\nKESQ-TV \"News Channel 3 HD\"\nKCWQ-LP/LD \"Palm Springs CW 5\"\nKUNA-LD \"Telemundo 15\"\n\nPSP-CD\nCathedral City, California\nNews-Press & Gazette Company\nCBS network affiliates\nTelevision channels and stations established in 2002\n2002 establishments in California\nLow-power television stations in the United States",
"KTSM (690 kHz) is a commercial AM radio station licensed to El Paso, Texas. KTSM is owned by iHeartMedia, Inc. and airs a talk radio format. The transmitter is in the extreme north end of El Paso, and studios are located along Mesa Drive in west central El Paso.\n\nKTSM broadcasts with 10,000 watts around the clock. Because the station operates on 690 kHz, a Canadian and Mexican Clear-channel frequency, KTSM uses a directional antenna to avoid interfering with other stations at the same dial position.\n\nProgramming\nKTSM's weekday schedule is made up of nationally syndicated talk shows, with national news from Fox News Radio as well as local news updates. Most of the programs are supplied by Premiere Networks, a subsidiary of iHeartMedia. Weekdays start with Glenn Beck and Rush Limbaugh. Afternoons feature Sean Hannity and Mark Levin. In the evening, Todd Schnitt, Clyde Lewis, and Coast to Coast AM with George Noory, followed by This Morning, America's First News with Gordon Deal. Weekends feature a mix of local and syndicated shows from Kim Komando, Bill Handel, Gary Sullivan, Bruce DuMont, Bill Cunningham and Ric Edelman. Some weekend hours are paid brokered programming.\n\nHistory\n\nEarly years\nKTSM is the oldest radio station in El Paso, signing on the air on April 22, 1929. At first, it was powered at only 100 watts, broadcasting on 1310 kilocycles, and sharing time with another radio station, KDAH. Eventually, the Tri-State Broadcasting Company (now Tri-State Media) owned both stations and consolidated them under the KTSM call sign. The original studios were in the historic Hotel Paso del Norte on Sheldon Court at South Santa Fe Street.\n\nWith the enactment of the North American Regional Broadcasting Agreement (NARBA) in 1941, KTSM's frequency was shifted to 1380 kHz. Daytime power was increased to 1,000 watts, and 500 watts at night, when radio waves travel farther. KTSM was a CBS Radio Network affiliate, airing its schedule of dramas, comedies, news, sports, soap operas, game shows and big band broadcasts during the \"Golden Age of Radio.\"\n\nTV and FM stations\nIn 1953, KTSM added a television station, Channel 9 KTSM-TV, the second TV outlet in El Paso. Because KTSM radio was a CBS affiliate, KTSM-TV also began carrying CBS TV shows. As network programming moved from radio to television in the 1950s, KTSM 1380 switched to a full service middle of the road format, including popular music, news and sports.\n\nIn 1962, an FM station was added. 99.9 KTSM-FM began broadcasting with a beautiful music format, separate from the AM station. The FM transmitter was co-located with the TV tower.\n\nNews and Talk\nIn 1975, NBC Radio established an all-news radio network known as the \"News and Information Service\" (NIS). KTSM 1380 was one of the stations to join NIS, while also keeping its CBS News affiliation as well. The network failed to gain enough affiliates and was discontinued at the end of 1977.\n\nFor several years, KTSM did its own all-news programming, using the services of CBS and NBC for world and national news, and a staff of local reporters for El Paso and Texas news. Over time, talk shows were added until KTSM became a talk radio station.\n\nSwitch to AM 690\nIn 1947, KEPO signed on the air in El Paso at 690 kHz. It was powered at 5,000 watts and was owned by H.J. Griffith, who served as station president. It later switched its call letters to KHEY, airing a country music format for many years.\n\nIn 1998, San Antonio-based Clear Channel Communications acquired both KTSM-AM-FM and KHEY-AM-FM. Under Clear Channel management, the two AM stations' frequencies were switched in 2000. KHEY, which had still been playing country music on the AM dial, was moved to AM 1380. KTSM and its talk format took over the AM 690 frequency, giving it wider coverage. AM stations lower on the dial have a bigger range, plus AM 690 is powered at 10,000 watts, while AM 1380 broadcasts at 5,000 watts by day, 500 watts at night. The new 1380 KHEY flipped to a sports radio format.\n\nClear Channel Communications was renamed iHeartMedia in 2014.\n\nReferences\n\nExternal links\nNews Talk 690 - Official Website\n\nTSM\nNews and talk radio stations in the United States\nRadio stations established in 2000\nIHeartMedia radio stations"
] |
[
"Walter Cronkite",
"Anchor of the CBS Evening News",
"When did Walter join CBS Evening news?",
"but later the CBS Evening News on September 2, 1963,",
"for how long was he the anchor of CBS evening News?",
"Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.",
"What kind of stories did Walter report?",
"A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963.",
"What was he known as during his time at CBS?",
"Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings",
"What were his ratings for the Apollo 11 and Apollo 13 missions?",
"and made CBS the most-watched television network for the missions.",
"When was Walter's last show on CBS Evening News?",
"Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981.",
"Was walter known for saying anything in particular?",
"One of Cronkite's trademarks was ending the CBS Evening News with the phrase \"...And that's the way it is,\"",
"Was he offered another position by another news channel while at CBS?",
"I don't know."
] |
C_6ff1c1bd96ab4d89bc212590b574ea85_0
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How long was his show?
| 9 |
How long was Walter Cronkite's show?
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Walter Cronkite
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On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news. During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored the Huntley-Brinkley Report. For much of the 1960s, the Huntley-Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley-Brinkley Report in viewership during the summer months. In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981. One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981. CANNOTANSWER
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when the show was expanded from 15 to 30 minutes,
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Walter Leland Cronkite Jr. (November 4, 1916 – July 17, 2009) was an American broadcast journalist who served as anchorman for the CBS Evening News for 19 years (1962–1981). During the 1960s and 1970s, he was often cited as "the most trusted man in America" after being so named in an opinion poll. Cronkite reported many events from 1937 to 1981, including bombings in World War II; the Nuremberg trials; combat in the Vietnam War; the Dawson's Field hijackings; Watergate; the Iran Hostage Crisis; and the assassinations of President John F. Kennedy, civil rights pioneer Martin Luther King Jr., and Beatles musician John Lennon. He was also known for his extensive coverage of the U.S. space program, from Project Mercury to the Moon landings to the Space Shuttle. He was the only non-NASA recipient of an Ambassador of Exploration award. Cronkite is known for his departing catchphrase, "And that's the way it is", followed by the date of the broadcast.
Early life and education
Cronkite was born on November 4, 1916, in Saint Joseph, Missouri, the son of Helen Lena (née Fritsche) and Dr. Walter Leland Cronkite, a dentist.
Cronkite lived in Kansas City, Missouri, until he was ten, when his family moved to Houston, Texas. He attended elementary school at Woodrow Wilson Elementary School (now Baker Montessori School), junior high school at Lanier Junior High School (now Lanier Middle School) in Houston, and high school at San Jacinto High School, where he edited the high school newspaper. He was a member of the Boy Scouts. He attended college at the University of Texas at Austin (UT), entering in the Fall term of 1933, where he worked on the Daily Texan and became a member of the Nu chapter of the Chi Phi Fraternity. He also was a member of the Houston chapter of DeMolay, a Masonic fraternal organization for boys. While attending UT, Cronkite had his first taste of performance, appearing in a play with fellow student Eli Wallach. He dropped out in 1935, not returning for the Fall term, in order to concentrate on journalism.
Career
He dropped out of college in his junior year, in the fall term of 1935, after starting a series of newspaper reporting jobs covering news and sports. He entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma. In 1936, he met his future wife, Mary Elizabeth "Betsy" Maxwell, while working as the sports announcer for KCMO (AM) in Kansas City, Missouri. His broadcast name was "Walter Wilcox". He would explain later that radio stations at the time did not want people to use their real names for fear of taking their listeners with them if they left. In Kansas City, he joined the United Press International in 1937.
With his name now established, he received a job offer from Edward R. Murrow at CBS News to join the Murrow Boys team of war correspondents, relieving Bill Downs as the head of the Moscow bureau. CBS offered Cronkite $125 ($2,235 in 2020 money) a week along with "commercial fees" amounting to $25 ($447 in 2020) for almost every time Cronkite reported on air. Up to that point, he had been making $57.50 ($1,027 in 2020) per week at UP, but he had reservations about broadcasting. He initially accepted the offer. When he informed his boss Harrison Salisbury, UP countered with a raise of $17.50 ($312 in 2020) per week; Hugh Baillie also offered him an extra $20 ($357 in 2020) per week to stay. Cronkite ultimately accepted the UP offer, a move which angered Murrow and drove a wedge between them that would last for years.
Cronkite became one of the top American reporters in World War II, covering battles in North Africa and Europe. He was on board starting in Norfolk, Virginia, through her service off the coast of North Africa as part of Operation Torch, and thence back to the US. On the return trip, Cronkite was flown off Texas in one of her Vought OS2U Kingfisher aircraft when Norfolk was within flying distance. He was granted permission to be flown the rest of the distance to Norfolk so that he could outpace a rival correspondent on to return to the US and to issue the first uncensored news reports to be published about Operation Torch. Cronkite's experiences aboard Texas launched his career as a war correspondent. Subsequently, he was one of eight journalists selected by the United States Army Air Forces to fly bombing raids over Germany in a Boeing B-17 Flying Fortress part of group called The Writing 69th, and during a mission fired a machine gun at a German fighter. He also landed in a glider with the 101st Airborne Division in Operation Market Garden and covered the Battle of the Bulge. After the war, he covered the Nuremberg trials and served as the United Press main reporter in Moscow from 1946 to 1948.
Early years at CBS
In 1950, Cronkite joined CBS News in its young and growing television division, again recruited by Murrow. Cronkite began working at WTOP-TV (now WUSA), the CBS affiliate in Washington, D.C.. He originally served as anchor of the network's 15-minute late-Sunday-evening newscast Up To the Minute, which followed What's My Line? at 11:00 pm ET from 1951 through 1962.
Although it was widely reported that the term "anchor" was coined to describe Cronkite's role at both the Democratic and Republican National Conventions, marking the first nationally televised convention coverage, other news presenters bore the title before him. Cronkite anchored the network's coverage of the 1952 presidential election as well as later conventions. In 1964 he was temporarily replaced by the team of Robert Trout and Roger Mudd; this proved to be a mistake, and Cronkite returned to the anchor chair for future political conventions.
From 1953 to 1957, Cronkite hosted the CBS program You Are There, which reenacted historical events, using the format of a news report. His famous last line for these programs was: "What sort of day was it? A day like all days, filled with those events that alter and illuminate our times ... and you were there." In 1971, the show was revived and redesigned to attract an audience of teenagers and young adults, hosted again by Cronkite on Saturday mornings. In 1957, he began hosting The Twentieth Century (eventually renamed The 20th Century), a documentary series about important historical events of the century composed almost exclusively of newsreel footage and interviews. A long-running hit, the show was again renamed as The 21st Century in 1967 with Cronkite hosting speculative reporting on the future for another three years. Cronkite also hosted It's News to Me, a game show based on news events.
During the presidential elections of 1952 and 1956 Cronkite hosted the CBS news-discussion series Pick the Winner.
Another of his network assignments was The Morning Show, CBS' short-lived challenge to NBC's Today in 1954. His on-air duties included interviewing guests and chatting with a lion puppet named Charlemane about the news. He considered this discourse with a puppet as "one of the highlights" of the show. He added, "A puppet can render opinions on people and things that a human commentator would not feel free to utter. I was and I am proud of it." Cronkite also angered the R. J. Reynolds Tobacco Company, the show's sponsor, by grammatically correcting its advertising slogan. Instead of saying "Winston tastes good like a cigarette should" verbatim, he substituted "as" for "like."
He was the lead broadcaster of the network's coverage of the 1960 Winter Olympics, the first-ever time such an event was televised in the United States. He replaced Jim McKay, who had suffered a mental breakdown.
Anchor of the CBS Evening News
On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.
During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored The Huntley–Brinkley Report. For much of the 1960s, The Huntley–Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley–Brinkley Report in viewership during the summer months.
In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 Moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981.
One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981.
Historic moments
Kennedy's assassination
Cronkite is vividly remembered for breaking the news of the assassination of John F. Kennedy on Friday, November 22, 1963. Cronkite had been standing at the United Press International wire machine in the CBS newsroom as the bulletin of the President's shooting broke and he clamored to get on the air to break the news as he wanted CBS to be the first network to do so.
There was a problem facing the crew in the newsroom, however. There was no television camera in the studio at the time as the technical crew was working on it. Eventually, the camera was retrieved and brought back to the newsroom. Because of the magnitude of the story and the continuous flow of information coming from various sources, time was of the essence but the camera would take at least twenty minutes to become operational under normal circumstances. The decision was made to dispatch Cronkite to the CBS Radio Network booth to report the events and play the audio over the television airwaves while the crew worked on the camera to see if they could get it set up quicker.
Meanwhile, CBS was ten minutes into its live broadcast of the soap opera As the World Turns (ATWT), which had begun at the very minute of the shooting. A "CBS News Bulletin" bumper slide abruptly broke into the broadcast at 1:40 pm EST. Over the slide, Cronkite began reading what would be the first of three audio-only bulletins that were filed in the next twenty minutes:
While Cronkite was reading this bulletin, a second one arrived, mentioning the severity of Kennedy's wounds:
Just before the bulletin cut out, a CBS News staffer was heard saying "Connally too," apparently having just heard the news that Texas Governor John Connally had also been shot while riding in the presidential limousine with his wife Nellie and Mr. and Mrs. Kennedy.
CBS then rejoined the telecast of ATWT during a commercial break, which was followed by show announcer Dan McCullough's usual fee plug for the first half of the program and the network's 1:45 pm station identification break. Just before the second half of ATWT was to begin, the network broke in with the bumper slide a second time. In this bulletin Cronkite reported in greater detail about the assassination attempt on the President, while also breaking the news of Governor Connally's shooting.
Cronkite then recapped the events as they had happened: that the President and Governor Connally had been shot and were in the emergency room at Parkland Hospital, and no one knew their condition as yet. CBS then decided to return to ATWT, which was now midway through its second segment.
The cast had continued to perform live while Cronkite's bulletins broke into the broadcast, unaware of the unfolding events in Dallas. ATWT then took another scheduled commercial break. The segment before the break would be the last anyone would see of any network's programming until Tuesday, November 26. During the commercial, the bumper slide interrupted the proceedings again and Cronkite updated the viewers on the situation in Dallas. This bulletin went into more detail than the other two, revealing that Kennedy had been shot in the head, Connally in the chest. Cronkite remained on the air for the next ten minutes, continuing to read bulletins as they were handed to him, and recapping the events as they were known. He also related a report given to reporters by Texas Congressman Albert Thomas that the President and Governor were still alive, the first indication of their condition. At 2:00 pm EST, with the top of the hour station break looming, Cronkite told the audience that there would be a brief pause so that all of CBS' affiliates, including those in the Mountain and Pacific time zones which were not on the same schedule, could join the network. He then left the radio booth and went to the anchor desk in the newsroom.
Within twenty seconds of the announcement, every CBS affiliate except Dallas' KRLD (which was providing local coverage) was airing the network's feed. The camera was finally operational by this time and enabled the audience to see Cronkite, who was clad in shirt and tie but without his suit coat, given the urgent nature of the story. Cronkite reminded the audience, again, of the attempt made on the life of the President and tossed to KRLD news director Eddie Barker at the Dallas Trade Mart, where Kennedy was supposed to be making a speech before he was shot. Barker relayed information that Kennedy's condition was extremely critical. Then, after a prayer for Kennedy, Barker quoted an unofficial report that the President was dead but stressed it was not confirmed.
After several minutes, the coverage came back to the CBS newsroom where Cronkite reported that the President had been given blood transfusions and two priests had been called into the room. He also played an audio report from KRLD that someone had been arrested in the assassination attempt at the Texas School Book Depository. Back in Dallas Barker announced another report of the death of the President, mentioning that it came from a reliable source. Before the network left KRLD's feed for good, Barker first announced, then retracted, a confirmation of Kennedy's death.
CBS cut back to Cronkite reporting that one of the priests had administered last rites to the president. In the next few minutes, several more bulletins reporting that Kennedy had died were given to Cronkite, including one from CBS's own correspondent Dan Rather that had been reported as confirmation of Kennedy's demise by CBS Radio. As these bulletins came into the newsroom, it was becoming clearer that Kennedy had in fact lost his life. Cronkite, however, stressed that these bulletins were simply reports and not any official confirmation of the President's condition; some of his colleagues recounted in 2013 that his early career as a wire service reporter taught him to wait for official word before reporting a story. Still, as more word came in, Cronkite seemed to be resigned to the fact that it was only a matter of time before the assassination was confirmed. He appeared to concede this when, several minutes after he received the Rather report, he received word that the two priests who gave the last rites to Kennedy told reporters on the scene that he was dead. Cronkite said that report "seems to be as close to official as we can get", but would not declare it as such. Nor did he do so with a report from Washington, DC that came moments later, which said that government sources were now reporting the President was dead (this information was passed on to ABC as well, which took it as official confirmation and reported it as such; NBC did not report this information at all and chose instead to rely on reports from Charles Murphy and Robert MacNeil to confirm their suspicions).
At 2:38 pm EST, while filling in time with some observations about the security presence in Dallas, which had been increased due to violent acts against United Nations Ambassador Adlai Stevenson in the city earlier that year, Cronkite was handed a new bulletin. After looking it over for a moment, he took off his glasses, and made the official announcement:
After making that announcement, Cronkite paused briefly, put his glasses back on, and swallowed hard to maintain his composure. With noticeable emotion in his voice he intoned the next sentence of the news report:
With emotion still in his voice and eyes watering, Cronkite once again recapped the events after collecting himself, incorporating some wire photos of the visit and explaining the significance of the pictures now that Kennedy was dead. He reminded the viewers that Vice President Johnson was now the President and was to be sworn in, that Governor Connally's condition was still unknown, and that there was no report of whether the assassin had been captured. He then handed the anchor position to Charles Collingwood, who had just entered the newsroom, took his suit coat, and left the room for a while.
At about 3:30 pm EST, Cronkite came back into the newsroom to relay some new information. The two major pieces of information involved the Oath of Office being administered to now-President Johnson, which officially made him the thirty-sixth President, and that Dallas police had arrested a man named Lee Harvey Oswald whom they suspected had fired the fatal shots. After that, Cronkite left again to begin preparing for that night's CBS Evening News, which he returned to anchor as normal. For the next four days, along with his colleagues, Cronkite continued to report segments of uninterrupted coverage of the assassination, including the announcement of Oswald's death in the hands of Jack Ruby on Sunday. The next day, on the day of the funeral, Cronkite concluded CBS Evening News with the following assessment about the events of the last four dark days:
Referring to his coverage of Kennedy's assassination, in a 2006 TV interview with Nick Clooney, Cronkite recalled,
In a 2003 CBS special commemorating the 40th anniversary of the assassination, Cronkite recalled his reaction upon having the death confirmed to him, he said,
According to historian Douglas Brinkley, Cronkite provided a sense of perspective throughout the unfolding sequence of disturbing events.
Vietnam War
In mid-February 1968, on the urging of his executive producer Ernest Leiser, Cronkite and Leiser journeyed to Vietnam to cover the aftermath of the Tet Offensive. They were invited to dine with General Creighton Abrams, the commander of all forces in Vietnam, whom Cronkite knew from World War II. According to Leiser, Abrams told Cronkite, "we cannot win this Goddamned war, and we ought to find a dignified way out."
Upon return, Cronkite and Leiser wrote separate editorial reports based on that trip. Cronkite, an excellent writer, preferred Leiser's text over his own. On February 27, 1968, Cronkite closed "Report from Vietnam: Who, What, When, Where, Why?" with that editorial report:
Following Cronkite's editorial report, President Lyndon B. Johnson is claimed by some to have said, "If I've lost Cronkite, I've lost Middle America." However, this account of Johnson has been questioned by other observers in books on journalistic accuracy. At the time the editorial aired, Johnson was in Austin, Texas, attending Texas Governor John Connally's birthday gala and was giving a speech in his honor.
In his book This Just In: What I Couldn't Tell You on TV, CBS News correspondent Bob Schieffer, who was serving as a reporter for the Fort Worth Star-Telegram when Cronkite's editorial aired, acknowledged that Johnson did not see the original broadcast but also defended the allegation that Johnson had made the remark. According to Schieffer, Johnson's aide George Christian "told me that the President apparently saw some clips of it the next day" and that "That's when he made the remark about Cronkite. But he knew then that it would take more than Americans were willing to give it." When asked about the remark during a 1979 interview, Christian claimed he had no recollection about what the President had said. In his 1996 memoir A Reporter's Life, Cronkite claimed he was at first unsure about how much of an impact his editorial report had on Johnson's decision to drop his bid for re-election, and what eventually convinced him the President had made the statement was a recount from Bill Moyers, a journalist and former aide to Johnson.
Several weeks later, Johnson, who sought to preserve his legacy and was now convinced his declining health could not withstand growing public criticism, announced he would not seek reelection.
During the 1968 Democratic National Convention in Chicago, Cronkite was anchoring the CBS network coverage as violence and protests occurred outside the convention, as well as scuffles inside the convention hall. When Dan Rather was punched to the floor (on camera) by security personnel, Cronkite commented, "I think we've got a bunch of thugs here, Dan."
Other historic events
The first publicly transmitted live trans-Atlantic program was broadcast via the Telstar satellite on July 23, 1962, at 3:00 pm EDT, and Cronkite was one of the main presenters in this multinational broadcast. The broadcast was made possible in Europe by Eurovision and in North America by NBC, CBS, ABC, and the CBC. The first public broadcast featured CBS's Cronkite and NBC's Chet Huntley in New York, and the BBC's Richard Dimbleby in Brussels. Cronkite was in the New York studio at Rockefeller Plaza as the first pictures to be transmitted and received were the Statue of Liberty in New York and the Eiffel Tower in Paris. The first segment included a televised major league baseball game between the Philadelphia Phillies and the Chicago Cubs at Wrigley Field. From there, the video switched first to Washington, D.C.; then to Cape Canaveral, Florida; then to Quebec City, Quebec, and finally to Stratford, Ontario. The Washington segment included a press conference with President Kennedy, talking about the price of the American dollar, which was causing concern in Europe. This broadcast inaugurated live intercontinental news coverage, which was perfected later in the sixties with Early Bird and other Intelsat satellites.
General of the Army Dwight D. Eisenhower returned to his former Supreme Headquarters Allied Expeditionary Force (SHAEF) headquarters for an interview by Cronkite on the CBS News Special Report D-Day + 20, telecast on June 6, 1964.
Cronkite is also remembered for his coverage of the United States space program, and at times was visibly enthusiastic, rubbing his hands together on camera with a smile and uttering, "Whew...boy" on July 20, 1969, when the Apollo 11 lunar landing mission put the first men on the Moon.
Cronkite participated in Richard Nixon's 1972 visit to China. Because Cronkite was colorblind, he had to ask others what color of coat First Lady Pat Nixon was wearing when they disembarked in Peking (Beijing).
According to the 2006 PBS documentary on Cronkite, there was "nothing new" in his reports on the Watergate affair; however, Cronkite brought together a wide range of reporting, and his credibility and status is credited by many with pushing the Watergate story to the forefront with the American public, ultimately resulting in the resignation of President Richard M. Nixon on August 9, 1974. Cronkite had anchored the CBS coverage of Nixon's address, announcing his impending resignation, the night before.
The January 22, 1973, broadcast of the CBS Evening News saw Cronkite break the news of the death of another notable American political figure: former president Lyndon B. Johnson. At approximately 6:38 pm Eastern Time, while a pre-recorded report that the Vietnam peace talks in Paris had been successful was being played for the audience, Cronkite received a telephone call in the studio while off camera. The call was from Tom Johnson, the former press secretary for President Johnson who was at the time serving the former chief executive as station manager at KTBC-TV in Austin, Texas, which was affiliated with CBS at the time and was owned by the Johnson family. During the conversation the production staff cut away from the report back to the live camera in studio as Cronkite was still on the phone. After he was made aware that he was back on camera, Cronkite held up a finger to let everyone watching know he required a moment to let Johnson finish talking. Once Cronkite got what he needed, he thanked Johnson and asked him to stay on the line. He then turned to the camera and began to relay what Johnson had said to him.
During the final ten minutes of that broadcast, Cronkite reported on the death, giving a retrospective on the life of the nation's 36th president, and announced that CBS would air a special on Johnson later that evening. This story was re-told on a 2007 CBS-TV special honoring Cronkite's 90th birthday.
NBC-TV's Garrick Utley, anchoring NBC Nightly News that evening, also interrupted his newscast in order to break the story, doing so about three minutes after Cronkite on CBS. The news was not reported on that night's ABC Evening News, which was anchored by Howard K. Smith and Harry Reasoner, because ABC at the time fed their newscast live at 6:00 pm Eastern instead of 6:30 to get a head start on CBS and NBC for those stations that aired ABC Evening News live (although not every affiliate did).
On November 22, 1963, Cronkite introduced The Beatles to the United States by airing a four-minute story about the band on CBS Morning News. The story was scheduled to be shown again on the CBS Evening News that same day, but the assassination of John F. Kennedy prevented the broadcast of the regular evening news. The Beatles story was aired on the evening news program on December 10.
Retirement
On February 14, 1980, Cronkite announced that he intended to retire from the CBS Evening News; at the time, CBS had a policy of mandatory retirement by age 65. Although sometimes compared to a father figure or an uncle figure, in an interview about his retirement he described himself as being more like a "comfortable old shoe" to his audience. His last day in the anchor chair at the CBS Evening News was on March 6, 1981; he was succeeded the following Monday by Dan Rather.
Cronkite's farewell statement:
On the eve of Cronkite's retirement, he appeared on The Tonight Show hosted by Johnny Carson. The following night, Carson did a comic spoof of his on-air farewell address.
Other activities
Post-CBS Evening News
As he had promised on his last show as anchor in 1981, Cronkite continued to broadcast occasionally as a special correspondent for CBS, CNN, and NPR into the 21st century; one such occasion was Cronkite anchoring the second space flight by John Glenn in 1998 as he had Glenn's first in 1962. Cronkite hosted Universe until its cancellation in 1982. In 1983, he reported on the British general election for the ITV current affairs series World In Action, interviewing, among many others, the victorious Prime Minister, Margaret Thatcher. Cronkite hosted the annual Vienna New Year's Concert on PBS from 1985 to 2008, succeeded by Julie Andrews in 2009. For many years, until 2002, he was also the host of the annual Kennedy Center Honors.
In 1998, Cronkite hosted the 90-minute documentary, Silicon Valley: A 100 Year Renaissance, produced by the Santa Clara Valley Historical Association. The film documented Silicon Valley's rise from the origin of Stanford University to the current high-technology powerhouse. The documentary was broadcast on PBS throughout the United States and in 26 countries. Prior to 2004, he could also be seen in the opening movie "Back to Neverland" shown in the Walt Disney World attraction The Magic of Disney Animation, interviewing Robin Williams as if he is still on the CBS News channel, ending his on-camera time with Cronkite's famous catchphrase. In the feature, Cronkite describes the steps taken in the creation of an animated film, while Williams becomes an animated character (and even becomes Cronkite, impersonating his voice). He also was shown inviting Disney guests and tourists to the Disney Classics Theater.
On May 21, 1999, Cronkite participated in a panel discussion on "Integrity in the Media" with Ben Bradlee and Mike McCurry at the Connecticut Forum in Hartford, Connecticut. Cronkite provided an anecdote about taking a picture from a house in Houston, Texas, where a newsworthy event occurred and being praised for getting a unique photograph, only to find out later that the city desk had provided him with the wrong address.
Voice-overs
Cronkite narrated the IMAX film about the Space Shuttle, The Dream is Alive, released in 1985. From May 26, 1986, to August 15, 1994, he was the narrator's voice in the EPCOT Center attraction Spaceship Earth, at Walt Disney World in Orlando, Florida. He provided the pivotal voice of Captain Neweyes in the 1993 animated film We're Back: A Dinosaur's Story, delivering his trademark line at the end. In 1995, he made an appearance on Broadway, providing the voice of the titular book in the 1995 revival of How to Succeed in Business Without Really Trying.
Cronkite was a finalist for NASA's Journalist in Space program, which mirrored the Teacher in Space Project, an opportunity that was suspended after the Challenger disaster in 1986. He recorded voice-overs for the 1995 film Apollo 13, modifying the script he was given to make it more "Cronkitian." In 2002, Cronkite was the voice of Benjamin Franklin in the educational television cartoon Liberty's Kids, which included a news segment ending with the same phrase he did back on the CBS Evening News. This role earned him Daytime Emmy nominations for Outstanding Performer in a Children's Series, in 2003 and 2004, but he did not win. His distinctive voice provided the narration for the television ads of the University of Texas, Austin, his alma mater, with its 'We're Texas' ad campaign.
He held amateur radio operator license KB2GSD and narrated a 2003 American Radio Relay League documentary explaining amateur radio's role in disaster relief. The video tells Amateur Radio's public service story to non-hams, focusing on ham radio's part in helping various agencies respond to wildfires in the Western US during 2002, ham radio in space and the role Amateur Radio plays in emergency communications. "Dozens of radio amateurs helped the police and fire departments and other emergency services maintain communications in New York, Pennsylvania and Washington, DC," narrator Cronkite intoned in reference to ham radio's response to the terrorist attacks on September 11, 2001. Unusually, Cronkite was a Novice-class licensee—the entry level license—for his entire, and long, tenure in the hobby.
On February 15, 2005, he went into the studio at CBS to record narration for WCC Chatham Radio, a documentary about Guglielmo Marconi and his Chatham station, which became the busiest ship-to-shore wireless station in North America from 1914 to 1994. The documentary was directed by Christopher Seufert of Mooncusser Films and premiered at the Chatham Marconi Maritime Center in April 2005. In 2006, Cronkite hosted the World War One Living History Project, a program honoring America's final handful of veterans from the First World War. The program was created by Treehouse Productions and aired on NPR on November 11, 2006. In May 2009, Legacy of War, produced by PBS, was released. Cronkite chronicles, over archive footage, the events following World War II that resulted in America's rise as the dominant world power.
Prior to his death, "Uncle Walter" hosted a number of TV specials and was featured in interviews about the times and events that occurred during his career as America's "most trusted" man. In July 2006, the 90-minute documentary Walter Cronkite: Witness to History aired on PBS. The special was narrated by Katie Couric, who assumed the CBS Evening News anchor chair in September 2006. Cronkite provided the voiceover introduction to Couric's CBS Evening News, which began on September 5, 2006. Cronkite's voiceover was notably not used on introducing the broadcast reporting his funeral – no voiceover was used on this occasion.
TV and movie appearances
Cronkite made a cameo appearance on a 1974 episode of The Mary Tyler Moore Show, in which he met with Lou Grant in his office. Ted Baxter, who at first tried to convince Cronkite that he (Baxter) was as good a newsman as Eric Sevareid, pleaded with Cronkite to hire him for the network news, at least to give sport scores, and gave an example: "The North Stars 3, the Kings Oh!" Cronkite turned to Grant and said, "I'm gonna get you for this!" Cronkite later said that he was disappointed that his scene was filmed in one take, since he had hoped to sit down and chat with the cast.
In the late 1980s and again in the 1990s, Cronkite appeared on the news-oriented situation comedy Murphy Brown as himself. Both episodes were written by the Emmy Award-winning team of Tom Seeley and Norm Gunzenhauser. He also continued hosting a variety of series. In the early 1980s, he was host of the documentary series World War II with Walter Cronkite. In 1991, he hosted the TV documentary Dinosaur! on A&E (not related to the documentary of the same title hosted by Christopher Reeve on CBS six years earlier), and a 1994 follow-up series, Ape Man: The Story of Human Evolution. In 1995, he narrated the World Liberty Concert held in the Netherlands.
Cronkite routinely hosted the Kennedy Center Honors from 1981 to 2002.
Cronkite appeared briefly in the 2005 dramatic documentary The American Ruling Class written by Lewis Lapham; the 2000 film Thirteen Days reporting on the Cuban Missile Crisis; and provided the opening synopsis of the American Space Program leading to the events in Apollo 13 for the 1995 Ron Howard film of the same name.
Political activism
Cronkite wrote a syndicated opinion column for King Features Syndicate. In 2005 and 2006, he contributed to The Huffington Post. Cronkite was the honorary chairman of The Interfaith Alliance. In 2006, he presented the Walter Cronkite Faith and Freedom Award to actor and activist George Clooney on behalf of his organization at its annual dinner in New York.
Cronkite was a vocal advocate for free airtime for political candidates. He worked with the Alliance for Better Campaigns and Common Cause, for instance, on an unsuccessful lobbying effort to have an amendment added to the McCain-Feingold-Shays-Meehan Campaign Finance Reform Act of 2001 that would have required TV broadcast companies to provide free airtime to candidates. Cronkite criticized the present system of campaign finance which allows elections to "be purchased" by special interests, and he noted that all the European democracies "provide their candidates with extensive free airtime." "In fact," Cronkite pointed out, "of all the major nations worldwide that profess to have democracies, only seven – just seven – do not offer free airtime" This put the United States on a list with Ecuador, Honduras, Malaysia, Taiwan, Tanzania, and Trinidad and Tobago. Cronkite concluded that "The failure to give free airtime for our political campaigns endangers our democracy." During the elections held in 2000, the amount spent by candidates in the major TV markets approached $1 billion. "What our campaign asks is that the television industry yield just a tiny percentage of that windfall, less than 1 percent, to fund free airtime."
He was a member of the Constitution Project's bipartisan Liberty and Security Committee. He also supported the nonprofit world hunger organization Heifer International.
In 1998, he supported President Bill Clinton during Clinton's impeachment trial. He was also a proponent of limited world government on the American federalist model, writing fundraising letters for the World Federalist Association (now Citizens for Global Solutions). In accepting the 1999 Norman Cousins Global Governance Award at the ceremony at the United Nations, Cronkite said:
It seems to many of us that if we are to avoid the eventual catastrophic world conflict we must strengthen the United Nations as a first step toward a world government patterned after our own government with a legislature, executive and judiciary, and police to enforce its international laws and keep the peace. To do that, of course, we Americans will have to yield up some of our sovereignty. That would be a bitter pill. It would take a lot of courage, a lot of faith in the new order. But the American colonies did it once and brought forth one of the most nearly perfect unions the world has ever seen.
Cronkite contrasted his support for accountable global government with the opposition to it by politically active Christian fundamentalists in the United States:
Even as with the American rejection of the League of Nations, our failure to live up to our obligations to the United Nations is led by a handful of willful senators who choose to pursue their narrow, selfish political objectives at the cost of our nation's conscience. They pander to and are supported by the Christian Coalition and the rest of the religious right wing. Their leader, Pat Robertson, has written that we should have a world government but only when the messiah arrives. Any attempt to achieve world order before that time must be the work of the Devil! Well join me... I'm glad to sit here at the right hand of Satan.
In 2003, Cronkite, who owned property on Martha's Vineyard, became involved in a long-running debate over his opposition to the construction of a wind farm in that area. In his column, he repeatedly condemned President George W. Bush and the 2003 invasion of Iraq. Cronkite appeared in the 2004 Robert Greenwald film Outfoxed, where he offered commentary on what he said were unethical and overtly political practices at the Fox News Channel. Cronkite remarked that when Fox News was founded by Rupert Murdoch, "it was intended to be a conservative organization – beyond that; a far-right-wing organization". In January 2006, during a press conference to promote the PBS documentary about his career, Cronkite said that he felt the same way about America's presence in Iraq as he had about their presence in Vietnam in 1968 and that he felt America should recall its troops.
Cronkite spoke out against the War on Drugs in support of the Drug Policy Alliance, writing a fundraising letter and appearing in advertisements on behalf of the DPA. In the letter, Cronkite wrote: "Today, our nation is fighting two wars: one abroad and one at home. While the war in Iraq is in the headlines, the other war is still being fought on our own streets. Its casualties are the wasted lives of our own citizens. I am speaking of the war on drugs. And I cannot help but wonder how many more lives, and how much more money, will be wasted before another Robert McNamara admits what is plain for all to see: the war on drugs is a failure."
Personal life
Cronkite was married for nearly 65 years to Mary Elizabeth 'Betsy' Maxwell Cronkite, from March 30, 1940, until her death from cancer on March 15, 2005. They had three children: Nancy Cronkite, Mary Kathleen (Kathy) Cronkite, and Walter Leland (Chip) Cronkite III (who is married to actress Deborah Rush). Cronkite dated singer Joanna Simon from 2005 to 2009.
A grandson, Walter Cronkite IV, now works at CBS. Cronkite's cousin is former Mayor of Kansas City and 2008 Democratic nominee for Missouri's 6th congressional district Kay Barnes.
Cronkite was an accomplished sailor and enjoyed sailing coastal waters of the United States in his custom-built 48-foot Sunward "Wyntje". Cronkite was a member of the United States Coast Guard Auxiliary, with the honorary rank of commodore. Throughout the 1950s, he was an aspiring sports car racer, even racing in the 1959 12 Hours of Sebring.
Cronkite was reported to be a fan of the game Diplomacy, which was rumored to be Henry Kissinger's favorite game.
Death
In June 2009, Cronkite was reported to be terminally ill. He died on July 17, 2009, at his home in New York City aged 92. He is believed to have died from cerebrovascular disease.
Cronkite's funeral took place on July 23, 2009, at St. Bartholomew's Church in midtown Manhattan, New York City. Among many journalists who attended were Tom Brokaw, Connie Chung, Katie Couric, Charles Gibson, Matt Lauer, Dan Rather, Andy Rooney, Morley Safer, Diane Sawyer, Bob Schieffer, Meredith Vieira, Barbara Walters, and Brian Williams. At his funeral, his friends noted his love of music, including, recently, drumming. He was cremated and his remains buried next to his wife, Betsy, in the family plot in Kansas City.
Legacy
Public credibility and trustworthiness
For many years, until a decade after he left his post as anchor, Cronkite was considered one of the most trusted figures in the United States. For most of his 19 years as anchor, he was the "predominant news voice in America." Affectionately known as "Uncle Walter," he covered many of the important news events of the era so effectively that his image and voice are closely associated with the Cuban Missile Crisis, the assassination of President John F. Kennedy, the Vietnam War, the Apollo 11 Moon landing, and the Watergate scandal. USA Today wrote that "few TV figures have ever had as much power as Cronkite did at his height." Enjoying the cult of personality surrounding Cronkite in those years, CBS allowed some good-natured fun-poking at its star anchorman in some episodes of the network's popular situation comedy All in the Family, during which the lead character Archie Bunker would sometimes complain about the newsman, calling him "Pinko Cronkite."
Cronkite trained himself to speak at a rate of 124 words per minute in his newscasts, so that viewers could clearly understand him. In contrast, Americans average about 165 words per minute, and fast, difficult-to-understand talkers speak close to 200 words per minute.
Awards and honors
In 1968, the faculty of the E. W. Scripps School of Journalism at Ohio University voted to award Cronkite the Carr Van Anda Award "for enduring contributions to journalism." In 1970, Cronkite received a "Freedom of the Press" George Polk Award and the Paul White Award from the Radio Television Digital News Association.
In 1972, in recognition of his career, Princeton University's American Whig-Cliosophic Society awarded Cronkite the James Madison Award for Distinguished Public Service.
In 1981, the year he retired, former president Jimmy Carter awarded Cronkite the Presidential Medal of Freedom. In that year, he also received the S. Roger Horchow Award for Greatest Public Service by a Private Citizen, an award given out annually by Jefferson Awards, and the Paul White Award for lifetime achievement from the Radio Television Digital News Association. In 1985, Cronkite was honored with the induction into the Academy of Television Arts and Sciences Hall of Fame. In 1989 he received the Four Freedoms Award for the Freedom of Speech. He was elected to the American Philosophical Society in 1994. In 1995, he received the Ischia International Journalism Award. In 1999, Cronkite received the Rotary National Award for Space Achievement's Corona Award in recognition of a lifetime of achievement in space exploration. He was elected a Fellow of the American Academy of Arts and Sciences in 2003. On March 1, 2006, Cronkite became the first non-astronaut to receive NASA's Ambassador of Exploration Award. Among Cronkite's numerous awards were four Peabody awards for excellence in broadcasting.
In 2003, Cronkite was honored by the Vienna Philharmonic with the Franz Schalk Gold Medal, in view of his contributions to the New Year's Concert and the cultural image of Austria.
Minor planet 6318 Cronkite, discovered in 1990 by Eleanor Helin is named in his honor.
Cronkite School at Arizona State University
A few years after Cronkite retired, Tom Chauncey, a former owner of KOOL-TV, the then-CBS affiliate in Phoenix, contacted Cronkite, an old friend, and asked him if he would be willing to have the journalism school at Arizona State University named after him. Cronkite immediately agreed. The ASU program acquired status and respect from its namesake.
Cronkite was not just a namesake, but he also took the time to interact with the students and staff of the Walter Cronkite School of Journalism and Mass Communication. Cronkite made the trip to Arizona annually to present the Walter Cronkite Award for Excellence in Journalism to a leader in the field of media.
"The values that Mr. Cronkite embodies – excellence, integrity, accuracy, fairness, objectivity – we try to instill in our students each and every day. There is no better role model for our faculty or our students," said Dean Christopher Callahan.
The school, with approximately 1,700 students, is widely regarded as one of the top journalism schools in the country. It is housed in a new facility in downtown Phoenix that is equipped with 14 digital newsrooms and computer labs, two TV studios, 280 digital student work stations, the Cronkite Theater, the First Amendment Forum, and new technology. The school's students regularly finish at the top of national collegiate journalism competitions, such as the Hearst Journalism Awards program and the Society of Professional Journalists Mark of Excellence Awards. In 2009, students won the Robert F. Kennedy Journalism Award for college print reporting.
In 2008, the state-of-the-art journalism education complex in the heart of ASU's Downtown Phoenix campus was also built in his honor. The Walter Cronkite Regents Chair in Communication seats the Texas College of Communications dean.
Walter Cronkite Papers
The Walter Cronkite papers are preserved at the curatorial Dolph Briscoe Center for American History at the University of Texas at Austin. Occupying 293 linear feet (almost 90 metres) of shelf space, the papers document Cronkite's journalism career. Amongst the collected material are Cronkite's early beginnings while he still lived in Houston. They encompass his coverage of World War II as a United Press International correspondent, where he cemented his reputation by taking on hazardous overseas assignments. During this time he also covered the Nuremberg war crimes trial serving as the chief of the United Press bureau in Moscow. The main content of the papers documents Cronkite's career with CBS News between 1950 and 1981.
The Cronkite Papers assemble a variety of interviews with U.S. presidents, including Herbert Hoover, Harry Truman, and Ronald Reagan. President Lyndon Johnson requested a special interview with Cronkite while he was broadcasting live on CBS.
Between 1990 and 1993, Don Carleton, executive director for the Center for American History, assisted Cronkite as he compiled an oral history to write his autobiography, A Reporter's Life, which was published in 1996. The taped memoirs became an integral part of an eight-part television series Cronkite Remembers, which was shown on the Discovery Channel.
As a newsman, Cronkite devoted his attention to the early days of the space program, and the "space race" between the United States and the Soviet Union. The National Aeronautics and Space Administration honored Cronkite on February 28, 2006. Michael Coats, director of NASA's Lyndon B. Johnson Space Center in Houston, presented Cronkite with the Ambassador of Exploration Award. Cronkite was the first non-astronaut thus honored.
NASA presented Cronkite with a Moon rock sample from the early Apollo expeditions spanning 1969 to 1972. Cronkite passed on the Moon rock to Bill Powers, president of the University of Texas at Austin, and it became part of the collection at the Dolph Briscoe Center for American History. Carleton said at this occasion, "We are deeply honored by Walter Cronkite's decision to entrust this prestigious award to the Center for American History. The Center already serves as the proud steward of his professional and personal papers, which include his coverage of the space program for CBS News. It is especially fitting that the archive documenting Walter's distinguished career should also include one of the moon rocks that the heroic astronauts of the Apollo program brought to Earth."
Memorial at Missouri Western State University
On November 4, 2013, Missouri Western State University in St. Joseph, Missouri, dedicated the Walter Cronkite Memorial. The nearly 6,000 square-foot memorial includes images, videos and memorabilia from Cronkite's life and the many events he covered as a journalist. The memorial includes a replica of the newsroom from which Cronkite broadcast the news during the 1960s and 1970s. In 2014, the Memorial received the Missouri Division of Tourism's Spotlight Award.
Books
The Challenges of Change (1971). Washington: Public Affairs Press. .
Eye on the World (1971). New York: Cowles Book Co. .
A Reporter's Life (1996). New York: Alfred A. Knopf. .
See also
New Yorkers in journalism
Walter Cronkite School of Journalism and Mass Communication
References
Further reading
Menand, Louis, "Seeing It Now: Walter Cronkite and the legend of CBS News", The New Yorker, July 9, 2012
External links
"Walter Cronkite, 92, Dies; Trusted Voice of TV News", The New York Times (July 17, 2009)
The Walter Cronkite Papers at the University of Texas at Austin
FBI Records: The Vault - Walter Leland Cronkite at vault.fbi.gov
1916 births
2009 deaths
20th-century American journalists
American male journalists
60 Minutes correspondents
Amateur radio people
American broadcast news analysts
American game show hosts
American television news anchors
American television reporters and correspondents
CBS News people
Drug policy reform activists
Fellows of the American Academy of Arts and Sciences
Journalists from Houston
Oklahoma Sooners football announcers
Peabody Award winners
People from St. Joseph, Missouri
Presidential Medal of Freedom recipients
San Jacinto High School alumni
Space advocates
Moody College of Communication alumni
American war correspondents of the Vietnam War
American war correspondents of World War II
20th-century American Episcopalians
Recipients of Ischia International Journalism Award
Members of the American Philosophical Society
United States Coast Guard Auxiliary officers
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[
"How Long: Ultra Naté Best Remixes, Vol. 2 is a compilation consisting of remixes of the singles from Ultra Naté's second album, One Woman's Insanity. This compilation was released on March 30, 1999.\n\nTrack listings\n 1. \"How Long\" (Wingston Hip-Hop Edit)\n 2. \"Show Me\" (Original Extended Version)\n 3. \"Joy\" (What Rave? Mix)\n 4. \"Incredibly You\"\n 5. \"Show Me\" (Masters at Work 12\" Dub)\n 6. \"How Long\" (Fire Island Remix)\n 7. \"How Long\" (Ultra's House Swing)\n 8. \"Show Me\" (Chameleon House Mix)\n 9. \"Joy\" (Never Ending Joy Mix)\n 10. \"How Long\" (118th Street Instrumental)\n\nExternal links\n[ All Music: Situation: Critical]\n\nUltra Naté albums\n1999 remix albums\nWarner Records remix albums",
"was a black and white Japanese anime direct-to-TV short film aired in 1960. It was the first domestic anime ever televised.\n\nBackground\nThe show was an experimental anthology broadcast on the NHK channel. It was divided into 3 parts featuring individual short fairy tales. The first part of the show titled \"The Third Plate\" is technically the first anime segment ever televised. In total, the show was 30 minutes long. Though it is questionable as to how widespread the anime actually was, since NHK was only broadcasting to 866 TV sets as of 1953. There is no known estimate as to how much their infrastructure scaled just 7 years later. Though the best evidence pointing to the anime as being black and white comes from the NHK station record, which indicated they did not make their first analog color broadcast until September 10, 1960, at 8:55pm 9 months later in Tokyo and Osaka.\n\nStory\nThe story is an anthology of 3 separate fairy tales.\n\nStaff\nKenji Miyazawa had already died when the show saw his story turned into an anime, even Mia Ogawa would also die just 1 year after the show's first broadcast in 1961.\n\nReferences\n\nExternal links\n\n3-tsu no Hanashi in Animemorial (contains a screenshot)\n\n1960 anime films\nAnime short films\nAnime television films\nFantasy anime and manga\nFilms based on works by Kenji Miyazawa\n1960 television films\n1960 films\nJapanese films\n1960s animated short films"
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[
"The Smashing Pumpkins",
"Mainstream breakout: 1992-1994"
] |
C_27a494717f8d47cfa84878b93037e00f_0
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How did the smashing pumpkins Breakout in 1992?
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How did the smashing pumpkins Breakout in 1992?
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The Smashing Pumpkins
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With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'." Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000. Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Husker Du frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world". In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album. CANNOTANSWER
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Amid this environment of intense internal pressure for the band to break through to widespread popularity,
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The Smashing Pumpkins (or Smashing Pumpkins) are an American alternative rock band from Chicago. Formed in 1988 by frontman Billy Corgan (lead vocals, guitar), D'arcy Wretzky (bass), James Iha (guitar), and Jimmy Chamberlin (drums), the band has undergone many line-up changes. The current lineup features Corgan, Chamberlin, Iha and guitarist Jeff Schroeder.
Disavowing the punk rock roots of many of their alt-rock contemporaries, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and, in later recordings, electronica. Corgan is the group's primary songwriter; his musical ambitions and cathartic lyrics have shaped the band's albums and songs, which have been described as "anguished, bruised reports from Billy Corgan's nightmare-land".
The Smashing Pumpkins broke into the musical mainstream with their second album, 1993's Siamese Dream. The group built its audience with extensive touring and their 1995 follow-up, the double album Mellon Collie and the Infinite Sadness, debuted at number one on the Billboard 200 album chart. With 30 million albums sold worldwide, the Smashing Pumpkins were one of the most commercially successful and critically acclaimed bands of the 1990s. However, internal fighting, drug use, and diminishing record sales led to a 2000 break-up.
In 2006, Corgan and Chamberlin reconvened to record a new Smashing Pumpkins album, Zeitgeist. After touring throughout 2007 and 2008 with a lineup including new guitarist Jeff Schroeder, Chamberlin left the band in early 2009. Later that year, Corgan began a new recording series with a rotating lineup of musicians entitled Teargarden by Kaleidyscope, which encompassed the release of stand-alone singles, compilation EP releases, and two full albums that also fell under the project's scope—Oceania in 2012 and Monuments to an Elegy in 2014. Chamberlin and Iha officially rejoined the band in February 2018. The reunited lineup released the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. in November 2018 and Cyr in November 2020.
History
Early years: 1988–1991
After the breakup of his gothic rock band The Marked, singer and guitarist Billy Corgan left St. Petersburg, Florida, to return to his native city of Chicago, where he took a job in a record store and formed the idea of a new band to be called the Smashing Pumpkins. While working there, he met guitarist James Iha. Adorning themselves with paisley and other psychedelic trappings, the two began writing songs together (with the aid of a drum machine) that were heavily influenced by the Cure and New Order. The duo performed live for the first time on July 9, 1988 at the Polish bar Chicago 21. This performance included only Corgan on bass and Iha on guitar with a drum machine. Shortly thereafter, Corgan met D'arcy Wretzky after a show by the Dan Reed Network where they argued the merits of the band. After finding out Wretzky played bass guitar, Corgan recruited her into the lineup, and the trio played a show at the Avalon Nightclub. After this show, Cabaret Metro owner Joe Shanahan agreed to book the band on the condition that they replace the drum
machine with a live drummer.
Jazz drummer Jimmy Chamberlin was recommended by a friend of Corgan's. Chamberlin knew little of alternative music and immediately changed the sound of the nascent band. As Corgan recalled of the period, "We were completely into the sad-rock, Cure kind of thing. It took about two or three practices before I realized that the power in his playing was something that enabled us to rock harder than we could ever have imagined." On October 5, 1988, the complete band took the stage for the first time at the Cabaret Metro.
In 1989, the Smashing Pumpkins made their first appearance on record with the compilation album Light Into Dark, which featured several Chicago alternative bands. The group released its first single, "I Am One", in 1990 on local Chicago label Limited Potential. The single sold out and they released a follow-up, "Tristessa", on Sub Pop, after which they signed to Caroline Records. The band recorded their 1991 debut studio album Gish with producer Butch Vig at his Smart Studios in Madison, Wisconsin for $20,000. In order to gain the consistency he desired, Corgan often played all instruments excluding drums, which created tension in the band. The music fused heavy metal guitars, psychedelia, and dream pop, garnering them comparisons to Jane's Addiction. Gish became a minor success, with the single "Rhinoceros" receiving some airplay on modern rock radio. After releasing the Lull EP in October 1991 on Caroline Records, the band formally signed with Virgin Records, which was affiliated with Caroline. The band supported the album with a tour that included opening for bands such as the Red Hot Chili Peppers, Jane's Addiction, and Guns N' Roses. During the tour, Iha and Wretzky went through a messy breakup, Chamberlin became addicted to narcotics and alcohol, and Corgan entered a deep depression, writing some songs for the upcoming album in the parking garage where he lived at the time.
Mainstream breakout and Siamese Dream: 1992–1994
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'."
Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000.
Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Hüsker Dü frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world".
In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album.
Mellon Collie and the Infinite Sadness: 1995–1997
During 1995, Corgan wrote about 56 songs, following which the band went into the studio with producers Flood and Alan Moulder to work on what Corgan described as "The Wall for Generation X", and which became Mellon Collie and the Infinite Sadness, a double album of twenty-eight songs, lasting over two hours (the vinyl version of the album contained three records, two extra songs, and an alternate track listing). The songs were intended to hang together conceptually as a symbol of the cycle of life and death. Praised by Time as "the group's most ambitious and accomplished work yet", Mellon Collie debuted at number one on the Billboard 200 in October 1995. Even more successful than Siamese Dream, it was certified ten times platinum in the United States and became the best-selling double album of the decade. It also garnered seven 1997 Grammy Award nominations, including Album of the Year. The band won only the Best Hard Rock Performance award, for the album's lead single "Bullet with Butterfly Wings". The album spawned five singles—"Bullet with Butterfly Wings", "1979", "Zero", "Tonight, Tonight" which Corgan stated was inspired by the Cheap Trick song "I'll Be with You Tonight", and "Thirty-Three"—of which the first three were certified gold and all but "Zero" entered the Top 40. Many of the songs that did not make it onto Mellon Collie were released as B-sides to the singles, and were later compiled in The Aeroplane Flies High box set. The set was originally limited to 200,000 copies, but more were produced to meet demand.
In 1996 the Pumpkins undertook an extended world tour in support of Mellon Collie. Corgan's look during this period—a shaved head, a long sleeve black shirt with the word "Zero" printed on it, and silver pants—became iconic. That year, the band also made a guest appearance in an episode of The Simpsons, "Homerpalooza". With considerable video rotation on MTV, major industry awards, and "Zero" shirts selling in many malls, the Pumpkins were considered one of the most popular bands of the time.
In May, the Smashing Pumpkins played a gig at the Point Theatre in Dublin, Ireland. Despite the band's repeated requests for moshing to stop, a seventeen-year-old fan named Bernadette O'Brien was crushed to death. The concert ended early and the following night's performance in Belfast was cancelled out of respect for her. However, while Corgan maintained that moshing's "time [had] come and gone", the band would continue to request open-floor concerts throughout the rest of the tour.
The band suffered a personal tragedy on the night of July 11, 1996, when touring keyboardist Jonathan Melvoin and Chamberlin overdosed on heroin in a hotel room in New York City. Melvoin died, and Chamberlin was arrested for drug possession. A few days later, the band announced that Chamberlin had been fired as a result of the incident. The Pumpkins chose to finish the tour, and hired drummer Matt Walker and keyboardist Dennis Flemion. Corgan later said the decision to continue touring was the worst decision the band had ever made, damaging both their music and their reputation. Chamberlin admitted in a 1994 Rolling Stone cover story that in the past he'd "gotten high in every city in this country and probably half the cities in Europe." But in recent years, he had reportedly been clean. On July 17, the Pumpkins issued a statement in which they said, "For nine years we have battled with Jimmy's struggles with the insidious disease of drug and alcohol addiction. It has nearly destroyed everything we are and stand for. … We wish [him] the best we have to offer". Meanwhile, the band had given interviews since the release of Mellon Collie stating that it would be the last conventional Pumpkins record, and that rock was becoming stale. James Iha said at the end of 1996, "The future is in electronic music. It really seems boring just to play rock music."
Adore, Machina, and breakup: 1998–2000
After the release of Mellon Collie, the Pumpkins contributed many songs to various compilations. Released in early 1997, the song "Eye", which appeared on the soundtrack to David Lynch's Lost Highway, relied almost exclusively on electronic instruments and signaled a drastic shift from the Pumpkins' previous musical styles. At the time, Corgan stated his "idea [was] to reconfigure the focus and get away from the classic guitars-bass-drum rock format." Later that year, the group contributed "The End Is the Beginning Is the End" to the soundtrack for the film Batman & Robin. With Matt Walker on drums, the song featured a heavy sound similar to "Bullet with Butterfly Wings" while still having strong electronic influences. The song later won the 1998 Grammy for Best Hard Rock Performance. Though Corgan announced that the song represented the sound people could expect from the band in the future, the band's next album would feature few guitar-driven songs.
Recorded following the death of Corgan's mother and his divorce, 1998's Adore represented a significant change of style from the Pumpkins' previous guitar-based rock, veering into electronica. The record, cut with assistance from drum machines and studio drummers including Matt Walker, was infused with a darker aesthetic than much of the band's earlier work. The group also modified its public image, shedding its alternative rock look for a more subdued appearance. Although Adore received favorable reviews and was nominated for Best Alternative Performance at the Grammy Awards, the album had only sold about 830,000 copies in the United States by the end of the year. The album nonetheless debuted at number 2 on the Billboard 200 and sold three times as many copies overseas. The band began a seventeen-date, fifteen-city charity North American tour in support of Adore. At each stop on the tour, the band donated 100 percent of tickets sales to a local charity organization. The tour's expenses were entirely funded out of the band's own pockets. All told, the band donated over $2.8 million to charity as a result of the tour. On October 31, 1998 during Halloween, the band opened for Kiss at Dodger Stadium in Los Angeles, dressed in costume as The Beatles.
In 1999 the band surprised fans by reuniting with a rehabilitated Jimmy Chamberlin for a brief tour dubbed "The Arising", which showcased both new and classic material. The lineup was short-lived, however, as the band announced the departure of Wretzky in September during work on the album Machina/The Machines of God. Former Hole bassist Melissa Auf der Maur was recruited for the "Sacred and Profane" tour in support of the album and appeared in the videos accompanying its release. Released in 2000, Machina was initially promoted as the Pumpkins' return to a more traditional rock sound, after the more gothic, electronic-sounding Adore. The album debuted at number three on the Billboard charts, but quickly disappeared and as of 2007 had only been certified gold. Music journalist Jim DeRogatis, who described the album as "one of the strongest of their career", noted that the stalled sales for Machina in comparison to teen pop ascendant at the time "seems like concrete proof that a new wave of young pop fans has turned a deaf ear toward alternative rock."
On May 23, 2000, in a live radio interview on KROQ-FM (Los Angeles), Billy Corgan announced the band's decision to break up at the end of that year following additional touring and recording. The group's final album before the break-up, Machina II/The Friends & Enemies of Modern Music, was released in September 2000 in a limited pressing on vinyl with permission and instructions for free redistribution on the Internet by fans. Only twenty-five copies were cut, each of which was hand numbered and given to friends of the band along with band members themselves. The album, released under the Constantinople Records label created by Corgan, consisted of one double LP and three ten-inch EPs. Originally, the band asked Virgin to offer Machina II as a free download to anyone who bought Machina. When the record label declined, Corgan opted to release the material independently.
On December 2, 2000, Smashing Pumpkins played a farewell concert at The Metro, the same Chicago club where their career had effectively started twelve years earlier. The four-and-a-half-hour-long show featured 35 songs spanning the group's career, and attendees were given a recording of the band's first concert at The Metro, Live at Cabaret Metro 10-5-88. The single "Untitled" was released commercially to coincide with the farewell show.
Post-breakup: 2001–2004
In 2001 the compilation Rotten Apples was released. The double-disc version of the album, released as a limited edition, included a collection of B-sides and rarities called Judas O. The Greatest Hits Video Collection DVD was also released at the same time. This was a compilation of all of the Pumpkins promo videos from Gish to Machina along with unreleased material. Vieuphoria was released on DVD in 2002, as was the soundtrack album Earphoria, previously released solely to radio stations in 1994.
Billy Corgan and Jimmy Chamberlin reunited in 2001 as members of Corgan's next project, the short-lived supergroup Zwan. The group's only album, Mary Star of the Sea, was released in 2003. After cancelling a few festival appearances, Corgan announced the demise of the band in 2003. During 2001 Corgan also toured as part of New Order and provided vocals on their comeback album Get Ready. In October 2004 Corgan released his first book, Blinking with Fists, a collection of poetry. In June 2005, he released a solo album, TheFutureEmbrace, which he described as "(picking) up the thread of the as-yet-unfinished work of the Smashing Pumpkins". Despite this, it was greeted with generally mixed reviews and lackluster sales. Only one single, "Walking Shade", was released in support of the album.
In addition to drumming with Zwan, Jimmy Chamberlin also formed an alternative rock/jazz fusion project band called Jimmy Chamberlin Complex. The group released an album in 2005 titled Life Begins Again. Corgan provided guest vocals on the track "Lokicat". James Iha served as a guitarist in A Perfect Circle, appearing on their Thirteenth Step club tour and 2004 album, eMOTIVe. He has also been involved with other acts such as Chino Moreno's Team Sleep and Vanessa and the O's. He continues to work with Scratchie Records, his own record label, as well. D'arcy Wretzky has, aside from one radio interview in 2009, not made any public statements or appearances nor given any interviews since leaving the band in 1999. On January 25, 2000, she was arrested after she allegedly purchased three bags of cocaine, but after successfully completing a court-ordered drug education program, the charges were dropped.
Corgan insisted during this period that the band would not reform, although when Zwan broke up he announced, "I think my heart was in Smashing Pumpkins […] I think it was naive of me to think that I could find something that would mean as much to me." Corgan said in 2005, "I never wanted to leave the Smashing Pumpkins. That was never the plan." On February 17, 2004, Corgan posted a message on his personal blog calling Wretzky a "mean-spirited drug addict" and blaming Iha for the breakup of the Smashing Pumpkins. On June 3, 2004, he added that "the depth of my hurt [from Iha] is only matched with the depth of my gratitude". Iha responded to Corgan's claims in 2005, saying, "No, I didn't break up the band. The only person who could have done that is Billy."
Reformation and Zeitgeist: 2005–2008
On June 21, 2005, the day of the release of his first solo album TheFutureEmbrace, Corgan took out full-page advertisements in the Chicago Tribune and Chicago Sun-Times to announce that he planned to reunite the band. "For a year now", Corgan wrote, "I have walked around with a secret, a secret I chose to keep. But now I want you to be among the first to know that I have made plans to renew and revive the Smashing Pumpkins. I want my band back, and my songs, and my dreams". Corgan and Chamberlin were verified as participants in the reunion, but there was question as to whether other former members of the band would participate.
In April 2007 Iha and Auf der Maur separately confirmed that they were not taking part in the reunion. Chamberlin would later state that Iha and Wretzky "didn't want to be a part of" the reunion. The Smashing Pumpkins performed live for the first time since 2000 on May 22, 2007, in Paris, France. There, the band unveiled new touring members: guitarist Jeff Schroeder, bassist Ginger Reyes, and keyboardist Lisa Harriton. That same month, "Tarantula" was released as the first single from the band's forthcoming album. On July 7, the band performed at the Live Earth concert in New Jersey.
The band's new album, Zeitgeist, was released that same month on Reprise Records, entering the Billboard charts at number two and selling 145,000 copies in its first week. Zeitgeist received mixed reviews, with much of the criticism targeted at the absence of half of the original lineup. The album divided the Pumpkins' fanbase. Corgan would later admit, "I know a lot of our fans are puzzled by Zeitgeist. I think they wanted this massive, grandiose work, but you don't just roll out of bed after seven years without a functioning band and go back to doing that".
Corgan and Chamberlin continued to record as a duo, releasing the four-song EP American Gothic in January 2008 and the singles "Superchrist" and "G.L.O.W." later that year. That November, the group released the DVD If All Goes Wrong, which chronicled the group's 2007 concert residences in Asheville, North Carolina and San Francisco, California. In late 2008, the band commenced on a controversy-riddled 20th Anniversary Tour. Around this time, Corgan said the group will make no more full-length records in order to focus exclusively on singles, explaining, "The listening patterns have changed, so why are we killing ourselves to do albums, to create balance, and do the arty track to set up the single? It's done."
Teargarden and Oceania: 2009–2013
In March 2009 Corgan announced on the band's website that Chamberlin had left the group and would be replaced. Chamberlin subsequently stated that his departure from the band is "a positive move forward for me. I can no longer commit all of my energy into something that I don't fully possess." Chamberlin stressed that the split was amicable, commenting, "I am glad [Corgan] has chosen to continue under the name. It is his right." Chamberlin soon formed the band Skysaw, which has released an album and toured in support of Minus the Bear. In July 2009 Billy Corgan formed a new group called Spirits in the Sky, initially as a tribute band to Sky Saxon of the Seeds, who had recently died. The following month Corgan confirmed on the band's website that 19-year-old Spirits in the Sky drummer Mike Byrne had replaced Chamberlin and that the pair was working on new Pumpkins recordings.
The group announced plans to release a 44-track concept album, Teargarden by Kaleidyscope, for free over the Internet one track at a time. The first track, "A Song for a Son", was released in December 2009 to moderate press acclaim. In March 2010 Ginger Reyes officially left the band, prompting an open call for auditions for a new bassist. In May, Nicole Fiorentino announced she had joined the band as bass player, and would be working on Teargarden by Kaleidyscope. The new lineup went on a world tour through to the end of 2010. One of the first shows with the new lineup was a concert to benefit Matthew Leone, bassist for the rock band Madina Lake, at the Metro on July 27, 2010. In late 2010 all four members contributed to the sessions for the third volume of Teargarden.
On April 26, 2011, Corgan announced that the Smashing Pumpkins would be releasing a new album titled Oceania, which he labeled as "an album within an album" in regards to the Teargarden by Kaleidyscope project, in the fall. As with the previous recording sessions, all four band members contributed to the project. Also, the entire album catalog was to be remastered and reissued with bonus tracks, starting with Gish and Siamese Dream in November 2011. The pre-Gish demos, Pisces Iscariot, and Mellon Collie and the Infinite Sadness were released in 2012, with The Aeroplane Flies High released the following year. Adore was released in 2014, and Machina/The Machines of God and the yet commercially unreleased Machina II/Friends and Enemies of Modern Music are expected to be combined, remixed, and released in the same year. The band did a thirteen-city US tour in October 2011 followed by a European tour in November and December.
Oceania was released on June 19, 2012, and received generally positive reviews. The album debuted at No. 4 on the Billboard 200 and at No. 1 on the Billboard Independent. The album spawned two singles, "The Celestials" and "Panopticon". The band proceeded to tour in support of the album, including a US tour involving playing the album in its entirety. By September 2012, Corgan stated that the band had already begun work on their next album. However, despite this, the band concentrated on touring, playing at Glastonbury Festival, Dour Festival and the Barclays Center, where they recorded Oceania: Live in NYC, which was released on September 24, 2013.
Monuments to an Elegy: 2014–2016
On March 25, 2014, Corgan announced he had signed a new record deal with BMG, for two new albums, titled Monuments to an Elegy and Day for Night, respectively. In June, it was revealed that Mike Byrne was no longer in the band, to be replaced by Tommy Lee of Mötley Crüe on the new album, and Fiorentino would not be recording on the album either. Monuments to an Elegy was released on December 5, 2014, to generally positive reviews. The band toured in support of the album starting on November 26, with Rage Against the Machine's Brad Wilk filling in on drums and the Killers' Mark Stoermer filling in on bass. The follow-up proposed album Day For Night was cited for delayed late 2015 or early 2016 release.
Later in 2015 Corgan announced that the band would embark on a co-headlining tour of North America with Marilyn Manson, "The End Times Tour", across July and August 2015. Prior to the co-headlining dates, the band performed a series of acoustic shows with drum machines and tapes for percussion. When the time came for the co-headlining tour, plans for a drummer fell through and Corgan recruited Chamberlin to reunite for the shows. On February 1, 2016, it was announced that the band would continue their In Plainsong acoustic tour with Jimmy Chamberlin on drums and were planning to head "straight to the studio after the dates to record a brand new album inspired by the sounds explored in the new acoustic setting". On February 25, 2016, Corgan posted a video from a Los Angeles studio on the band's Facebook account, giving an update on the writing process for the new songs for the upcoming album to be released after the In Plainsong tour.
The tour began in Portland, Oregon, on March 22, 2016.
Iha and Chamberlin's return; Shiny and Oh So Bright and Cyr: 2018–present
On his birthday on March 26, 2016, original guitarist James Iha joined Billy Corgan, Jimmy Chamberlin, and Jeff Schroeder on stage unannounced at the Ace Hotel in downtown Los Angeles. He performed a few songs, including "Mayonaise", "Soma" and "Whir" marking his first appearance with the Smashing Pumpkins in 16 years. Iha also played at the second of the two Smashing Pumpkins shows at the Ace Hotel the following day, which was Easter Sunday. Iha joined the Pumpkins for a third time at their concert of April 14 at the Civic Opera House in Chicago. In July, Corgan began hinting of the possibility of reuniting the band original lineup, of himself, Iha, Wretzky, and Chamberlin, and in August, he stated he had begun reaching out to the original lineup about the feasibility of a reunion, including speaking to Wretzky for the first time in sixteen years. Despite the comments, Corgan would spend much of 2017 working on solo material – recording and releasing the solo album Ogilala and beginning work on another solo album for 2018. In June 2017 Chamberlin also mentioned the possibility of a reunion tour in 2018. In January 2018 Corgan shared a photo of himself, Iha, and Chamberlin together in recording studio. In February 2018 Corgan announced that he was working with music producer Rick Rubin on a future Smashing Pumpkins album, that there were currently 26 songs he was actively working on, and that "the guitar feels once again like the preferred weapon of choice." Soon afterwards, Corgan shared a photo of sound equipment with Iha's name on a label, as well as announcing recording was finished on the album.
On February 15, 2018, the band officially announced that founding members Iha and Chamberlin were back in the band. They embarked on the Shiny And Oh So Bright Tour starting in July, with a focus on performing material from their first five studio albums. and sold over 350,000 tickets and sold out arenas including The Forum, United Center, and Madison Square Garden. Original bassist D'arcy Wretzky claimed she had been offered a contract to rejoin the band but Corgan rescinded the offer soon after. Corgan released a statement denying the claims, stating "Ms. Wretzky has repeatedly been invited out to play with the group, participate in demo sessions, or at the very least, meet face-to-face, and in each and every instance she always deferred". Jack Bates (son of Joy Division bassist Peter Hook) played bass on the tour. Bates previously toured with the Smashing Pumpkins in 2015. Multi-instrumentalist Katie Cole rejoined the band for the tour as well, singing backup vocals and playing keyboards and guitar.
In March 2018, Corgan mentioned the band planned to release two EPs in 2018, with the first tentatively planned for May. On June 8, 2018, the first single from the set of music, "Solara", was released. On August 2, 2018, the band celebrated their 30th anniversary by performing in Holmdel, New Jersey. with several notable special guests including Courtney Love, Chino Moreno, Davey Havok, Peter Hook, Mark McGrath, and Dave Keuning and Mark Stoermer of The Killers. In September 2018, they announced the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun., released via Napalm Records on November 16, 2018, which debuted at number 54 on the Billboard 200 chart.
After touring through much of 2019, Corgan noted in January 2020 that the band was currently working on 21 songs for a future album release. On August 28, 2020, the band released the single and video for "Cyr", along with a second track titled "The Colour of Love" from their album Cyr, which was released through their new record label Sumerian Records on November 27, 2020. It serves as the second part of the Shiny and Oh So Bright series. On September 25, 2020, the band released another single from Cyr that included the songs "Confessions of a Dopamine Addict" and "Wrath". On October 9, 2020, the band released a third single for Cyr that featured the tracks "Anno Satana" and "Birch Grove". On October 29, the band released "Ramona" and "Wyttch" as the fourth pair of singles. On November 20, 2020, the songs "Purple Blood" and "Dulcet in E" were released as the fifth and final single for Cyr. The following week, on November 27, 2020, the band released Cyr. Despite never getting to properly tour Cyr, the band did play four songs from the album at their headlining shows at Riot Fest and Sea.Hear.Now Festival in September 2021.
In late 2020, Corgan announced that the band would begin work on another double album for release in 2021, although the year passed without the album releasing. The double album is to serve as a sequel to the overarching story of Mellon Collie and the Infinite Sadness and Machina: The Machines of God. On February 22, the band announced on social media the Rock Invasion 2 Tour, which had previously been set to take place in spring 2020, but had been postponed to fall 2020 and subsequently canceled due to the COVID-19 pandemic. The newly announced incarnation of the tour had entirely new locations spanning 11 US cities accompanying the band's spring festival appearances and four performances in Mexico, their first since 2013.
Musical style, influences, and legacy
The direction of the band is dominated by lead guitarist, lead vocalist, keyboardist, bassist and principal songwriter Billy Corgan. Journalist Greg Kot wrote, "The music [of the Smashing Pumpkins] would not be what it is without his ambition and vision, and his famously fractured relationships with his family, friends, and bandmembers." Melissa Auf der Maur commented upon news of the group's reunion, "Everyone knows Billy doesn't need too many people to make a Pumpkins record, other than Jimmy [Chamberlin]—who he has on board." In a 2015 interview Corgan himself referred to the current iteration of the band "as sort of an open source collective" noting that "It's whoever feels right at the time." Many of Corgan's lyrics for the Pumpkins are cathartic expressions of emotion, full of personal musings and strong indictments of himself and those close to him. Music critics were not often fans of Corgan's angst-filled lyrics. Jim DeRogatis wrote in a 1993 Chicago Sun-Times article that Corgan's lyrics "too often sound like sophomoric poetry", although he viewed the lyrics of later albums Adore and Machina as an improvement. The band's songs have been described as "anguished, bruised reports from Billy Corgan's nightmare-land" by journalist William Shaw.
Smashing Pumpkins, unlike many alternative rock bands at the time, disavowed the influence of punk rock on their sound. Overall, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and electronica in later recordings.
The Smashing Pumpkins' distinctive sound up until Adore involved layering numerous guitar tracks onto a song during the recording process, a tactic that Mellon Collie and the Infinite Sadness coproducer Flood called the "Pumpkin guitar overdub army." Although there were a lot of overdubbed parts on Gish, Corgan began to really explore the possibilities of overdubbing with Siamese Dream; Corgan has stated that "Soma" alone contains up to 40 overdubbed guitar parts. While Corgan knew many of the songs would be difficult or impossible to replicate from their recorded versions in concert (in fact, some songs were drastically altered for live performance), he has explained the use of overdubbing by posing the question "When you are faced with making a permanent recorded representation of a song, why not endow it with the grandest possible vision?" This use of multilayered sounds was inspired by Corgan's love of 1970s popular artists & bands such as: David Bowie, Cheap Trick, Queen, Boston, and the Electric Light Orchestra, as well as shoegaze, a British alternative rock style of the late 1980s and early 1990s that relied on swirling layers of guitar noise for effect. Mellon Collie coproducer Alan Moulder was originally hired to mix Siamese Dream because Corgan was a fan of his work producing shoegaze bands such as My Bloody Valentine, Ride, and Slowdive.
Like many contemporary alternative bands, the Smashing Pumpkins utilized shifts in song dynamics, going from quiet to loud and vice versa. Hüsker Dü's seminal album Zen Arcade demonstrated to the band how they could place gentler material against more aggressive fare, and Corgan made such shifts in dynamics central to the pursuit of his grand musical ambitions. Corgan said he liked the idea of creating his own alternative universe through sound that essentially tells the listener, "Welcome to Pumpkin Land, this is what it sounds like on Planet Pumpkin." This emphasis on atmosphere carried through to Adore (described as "arcane night music" in prerelease promotion) and the Machina albums (concept records that tell the story of a fictional rock band).
The Pumpkins drew inspiration from a variety of other genres, some unfashionable during the 1990s among music critics. Corgan in particular was open about his appreciation of heavy metal, citing Dimebag Darrell of Pantera as his favorite contemporary guitarist. When one interviewer commented to Corgan and Iha that "Smashing Pumpkins is one of the groups that relegitimized heavy metal" and that they "were among the first alternative rockers to mention people like Ozzy and Black Sabbath with anything other than contempt". Corgan went on to rave about Black Sabbath's Master of Reality and Judas Priest's Unleashed in the East. The song "Zero", which reminded Iha of Judas Priest, is an example of what the band dubbed "cybermetal." Post-punk and gothic rock bands like Joy Division/New Order, Bauhaus, the Cure, and Depeche Mode were formative influences on the band, which covered such artists in concert and on record. Corgan also cited Siouxsie and the Banshees saying it was important to point back to bands that influenced them. Psychedelic rock was also referenced often in the band's early recordings; according to Corgan, "In typical Pumpkins fashion, no one at that point really liked loud guitars or psychedelic music so, of course, that's exactly what we had to do." Corgan felt that the band's guitars "are a mixture of heavy metal and 80s alternative rock. I think of Cure and Siouxsie and the Banshees". Corgan acknowledged that a chord he jokingly claimed as "the Pumpkin chord" (a G# octave chord at the eleventh fret of a guitar with the low E string played over it), used as the basis for "Cherub Rock", "Drown", and other songs, was in fact previously used by Jimi Hendrix. Other early influences cited by Corgan include Cream, the Stooges, and Blue Cheer.
Regarding the band's influence upon other groups, Greg Kot wrote in 2001, "Whereas Nirvana spawned countless mini-Nirvanas, the Pumpkins remain an island unto themselves." Still, some artists and bands have been influenced by the Pumpkins, such as Nelly Furtado, Marilyn Manson, Third Eye Blind, Mark Hoppus of Blink-182, Tegan and Sara, Fall Out Boy, Rivers Cuomo, Panic! at the Disco, Silversun Pickups, and My Chemical Romance. My Chemical Romance vocalist Gerard Way has said that they pattern their career upon the Pumpkins', including music videos. The members of fellow Chicago band Kill Hannah are friends with Corgan, and lead singer Mat Devine has compared his group to the Pumpkins.
The group has sold over 30 million albums worldwide as of October 2012, and sales in the United States alone reaching 19.75 million.
Music videos
The Smashing Pumpkins have been praised as "responsible for some of the most striking and memorable video clips" and for having "approached videos from a completely artistic standpoint rather than mere commercials to sell albums". MTV's 2001 anniversary special Testimony: 20 Years of Rock on MTV credited the Pumpkins, along with Nine Inch Nails, with treating music videos as an art form during the 1990s. Corgan has said, "We generally resisted the idea of what I call the classic MTV rock video, which is like lots of people jumping around and stuff." The band worked with video directors including Kevin Kerslake ("Cherub Rock"), Samuel Bayer ("Bullet with Butterfly Wings"), and, most frequently, the team of Jonathan Dayton and Valerie Faris ("Rocket", "1979", "Tonight, Tonight", "The End Is the Beginning Is the End", and "Perfect"). Corgan, who was frequently heavily involved in the conception of the videos, said of Dayton and Faris, "I know my [initial] versions are always darker, and they're always talking me into something a little kinder and gentler." Videos like "Today", "Rocket", and "1979" dealt with images taken from middle American culture, albeit exaggerated. The group's videos so often avoid the literal interpretation of the song lyrics that the video for "Thirty-Three", with images closely related to the words of the song, was created as an intentional stylistic departure.
The band was nominated for several MTV Video Music Awards during the 1990s. In 1996, the group won eight VMAs total for the "1979" and "Tonight, Tonight" videos, including the top award, Video of the Year, for "Tonight, Tonight". The video was also nominated for a Grammy at the 1997 ceremony. Of the "Tonight, Tonight" video, Corgan remarked, "I don't think we've ever had people react [like this]... it just seemed to touch a nerve."
Shortly after the band's 2000 breakup, the Greatest Hits Video Collection was released, collecting the band's music videos from 1991 to 2000 and including commentary from Corgan, Iha, Chamberlin, Wretzky, and various music video directors with outtakes, live performances, and the extended "Try, Try, Try" short film.
Band members
Current members
Billy Corgan – lead vocals, guitars, keyboards, bass guitar (1988–2000, 2006–present)
James Iha – guitars, bass guitar, vocals (1988–2000, 2018–present)
Jimmy Chamberlin – drums (1988–1996, 1998–2000, 2006–2009, 2015–present)
Jeff Schroeder – guitars, keyboards (2007–present)
Live members
Jack Bates – bass guitar (2015–present)
Katie Cole – keyboards, backing vocals (2015–present)
Former members
D'arcy Wretzky – bass guitar, backing vocals (1988–1999)
Melissa Auf der Maur – bass guitar (1999–2000)
Mike Byrne – drums, backing vocals, keyboards (2009–2014)
Nicole Fiorentino – bass guitar, backing vocals, keyboards (2010–2014)
Awards
American Music Awards
1997 – Best Alternative Artist
Grammy Awards
1997 – "Bullet with Butterfly Wings" – Best Hard Rock Performance
1998 – "The End Is the Beginning Is the End" – Best Hard Rock Performance
MTV Europe Music Awards
1996 – Best Rock
MTV Video Music Awards
1996 – "Tonight, Tonight" – Video of the Year, Breakthrough Video, Best Direction, Best Visual Effects, Best Art Direction, Best Cinematography
1996 – "1979" – Best Alternative Video
Discography
Studio albums
Gish (1991)
Siamese Dream (1993)
Mellon Collie and the Infinite Sadness (1995)
Adore (1998)
Machina/The Machines of God (2000)
Machina II/The Friends & Enemies of Modern Music (2000)
Zeitgeist (2007)
Oceania (2012)†
Monuments to an Elegy (2014)†
Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018)
Cyr (2020)
Notes
† Part of Teargarden by Kaleidyscope (2009–2014), an overarching project abandoned before completion.
See also
List of artists who reached number one on the U.S. alternative rock chart
Notes
References
Bibliography
Further reading
External links
1988 establishments in Illinois
Alternative rock groups from Chicago
Articles which contain graphical timelines
Caroline Records artists
Grammy Award winners
MTV Europe Music Award winners
Musical groups established in 1988
Musical groups disestablished in 2000
Musical groups reestablished in 2006
Musical quartets
American musical trios
Reprise Records artists
Sumerian Records artists
Virgin Records artists
Musical groups from Chicago
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[
"Michael William Byrne (born February 6, 1990) is an American drummer who was a member of the band The Smashing Pumpkins. When Pumpkins frontman Billy Corgan called for rehearsals to replace Jimmy Chamberlin, Byrne auditioned and was chosen out of thousands of applicants. He played drums in Sky Saxon tribute band Spirits in the Sky for six shows in August 2009, along with Corgan, Kerry Brown, Kevin Dippold, Mark Tulin, Linda Strawberry, Ysanne Spevack, Mark Weitz, and Dave Navarro, and also performs drums on the Pumpkins project, Teargarden by Kaleidyscope. As a part of Teargarden, Mike contributed drumming duties on Oceania, the Pumpkins' eighth full-length album. On April 17, 2010, Byrne played his first show under the Smashing Pumpkins moniker in celebration of Record Store Day.\n\nOn June 13, 2014, Billy Corgan reported that Byrne had left the band.\n\nEarly life\nByrne grew up in the Portland suburb of Beaverton, Oregon with his parents Eric and Chris Byrne and his sister, Elise Byrne. He started playing the drums regularly at age 12 and later played in local bands the Mercury Tree, Bearcubbin'! and Moses, Smell the Roses. By his freshman year of high school he was quickly recognized by upper-class musicians as not only a prolific drummer but as a singer/guitarist after performing a cover of a Staind song in which Byrne provided both percussion and vocals with two other guitarists from his freshman class. He also participated in marching band and marched on drumline while in high school. While attending Beaverton High School, from which he graduated in 2008, he worked at McDonald's to save money for college.\n\nThe Smashing Pumpkins\n\nOn August 17, 2009, he was officially named as the new drummer for the Smashing Pumpkins. The Pumpkins were already one of his favorite bands, with Jimmy Chamberlin among his most influential drummers. Byrne's YouTube channel, which he created three years prior to joining the band, had been \"MarquisinSpadez\", a reference to the song \"Marquis in Spades\", from the Smashing Pumpkins' Zero EP. \n\nIn 2011, Byrne won best \"Up and Coming\" drummer in Modern Drummer'''s Reader's Poll.\n\nIn June 2014, Billy Corgan reported that Byrne had left the band.\n\nAfter the Smashing Pumpkins\n\nUpon leaving the Smashing Pumpkins, Byrne continued his efforts with his local band Bearcubbin!, in the Pacific Northwest. They have released two full-length albums. During their visit to SXSW in 2014, they won the award for \"Worst Band Name\" out of the thousands of bands attending.\n\nMusical influences\n\nByrne cites some of his influences as The Cure, Maserati, Maps and Atlases, and Pelican. He enjoys post-rock and math rock.\n\nDiscography\n\nWith the Smashing PumpkinsTeargarden by Kaleidyscope (2009–2014)Oceania (2012)\n\nWith Bearcubbin'!Live From the Bear Trap (2009)Jewels & The Wallwalkers/ Bearcubbin'! (2010, split album)Get Your Heavies Out (2011)Girls with Fun Haircuts (2014)\n\nWith Moses, Smell the RosesFrenemies EP (2007)Please Do Over (2009)\n\nReferences\n\nExternal links\nSmashing Pumpkins’ “Drummer of the Future” May Be 19 Years Old – Rolling Stone''\n\nAmerican rock drummers\nLiving people\nPeople from Beaverton, Oregon\nThe Smashing Pumpkins members\n1990 births\nBeaverton High School alumni\nAlternative rock drummers\nMusicians from Portland, Oregon\n21st-century American drummers",
"Midnight in the Patch: Tribute to the Smashing Pumpkins is a 2001 tribute album, featuring a variety of artists covering songs from the American alternative rock band Smashing Pumpkins.\n\nTrack listing\n\n2001 compilation albums\nThe Smashing Pumpkins tribute albums\nVitamin Records compilation albums"
] |
[
"The Smashing Pumpkins",
"Mainstream breakout: 1992-1994",
"How did the smashing pumpkins Breakout in 1992?",
"Amid this environment of intense internal pressure for the band to break through to widespread popularity,"
] |
C_27a494717f8d47cfa84878b93037e00f_0
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did they publish any albums during this time?
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did The Smashing Pumpkins publish any albums during 1992?
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The Smashing Pumpkins
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With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'." Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000. Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Husker Du frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world". In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album. CANNOTANSWER
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late 1992 to begin work on their second album, with Butch Vig returning as producer.
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The Smashing Pumpkins (or Smashing Pumpkins) are an American alternative rock band from Chicago. Formed in 1988 by frontman Billy Corgan (lead vocals, guitar), D'arcy Wretzky (bass), James Iha (guitar), and Jimmy Chamberlin (drums), the band has undergone many line-up changes. The current lineup features Corgan, Chamberlin, Iha and guitarist Jeff Schroeder.
Disavowing the punk rock roots of many of their alt-rock contemporaries, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and, in later recordings, electronica. Corgan is the group's primary songwriter; his musical ambitions and cathartic lyrics have shaped the band's albums and songs, which have been described as "anguished, bruised reports from Billy Corgan's nightmare-land".
The Smashing Pumpkins broke into the musical mainstream with their second album, 1993's Siamese Dream. The group built its audience with extensive touring and their 1995 follow-up, the double album Mellon Collie and the Infinite Sadness, debuted at number one on the Billboard 200 album chart. With 30 million albums sold worldwide, the Smashing Pumpkins were one of the most commercially successful and critically acclaimed bands of the 1990s. However, internal fighting, drug use, and diminishing record sales led to a 2000 break-up.
In 2006, Corgan and Chamberlin reconvened to record a new Smashing Pumpkins album, Zeitgeist. After touring throughout 2007 and 2008 with a lineup including new guitarist Jeff Schroeder, Chamberlin left the band in early 2009. Later that year, Corgan began a new recording series with a rotating lineup of musicians entitled Teargarden by Kaleidyscope, which encompassed the release of stand-alone singles, compilation EP releases, and two full albums that also fell under the project's scope—Oceania in 2012 and Monuments to an Elegy in 2014. Chamberlin and Iha officially rejoined the band in February 2018. The reunited lineup released the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. in November 2018 and Cyr in November 2020.
History
Early years: 1988–1991
After the breakup of his gothic rock band The Marked, singer and guitarist Billy Corgan left St. Petersburg, Florida, to return to his native city of Chicago, where he took a job in a record store and formed the idea of a new band to be called the Smashing Pumpkins. While working there, he met guitarist James Iha. Adorning themselves with paisley and other psychedelic trappings, the two began writing songs together (with the aid of a drum machine) that were heavily influenced by the Cure and New Order. The duo performed live for the first time on July 9, 1988 at the Polish bar Chicago 21. This performance included only Corgan on bass and Iha on guitar with a drum machine. Shortly thereafter, Corgan met D'arcy Wretzky after a show by the Dan Reed Network where they argued the merits of the band. After finding out Wretzky played bass guitar, Corgan recruited her into the lineup, and the trio played a show at the Avalon Nightclub. After this show, Cabaret Metro owner Joe Shanahan agreed to book the band on the condition that they replace the drum
machine with a live drummer.
Jazz drummer Jimmy Chamberlin was recommended by a friend of Corgan's. Chamberlin knew little of alternative music and immediately changed the sound of the nascent band. As Corgan recalled of the period, "We were completely into the sad-rock, Cure kind of thing. It took about two or three practices before I realized that the power in his playing was something that enabled us to rock harder than we could ever have imagined." On October 5, 1988, the complete band took the stage for the first time at the Cabaret Metro.
In 1989, the Smashing Pumpkins made their first appearance on record with the compilation album Light Into Dark, which featured several Chicago alternative bands. The group released its first single, "I Am One", in 1990 on local Chicago label Limited Potential. The single sold out and they released a follow-up, "Tristessa", on Sub Pop, after which they signed to Caroline Records. The band recorded their 1991 debut studio album Gish with producer Butch Vig at his Smart Studios in Madison, Wisconsin for $20,000. In order to gain the consistency he desired, Corgan often played all instruments excluding drums, which created tension in the band. The music fused heavy metal guitars, psychedelia, and dream pop, garnering them comparisons to Jane's Addiction. Gish became a minor success, with the single "Rhinoceros" receiving some airplay on modern rock radio. After releasing the Lull EP in October 1991 on Caroline Records, the band formally signed with Virgin Records, which was affiliated with Caroline. The band supported the album with a tour that included opening for bands such as the Red Hot Chili Peppers, Jane's Addiction, and Guns N' Roses. During the tour, Iha and Wretzky went through a messy breakup, Chamberlin became addicted to narcotics and alcohol, and Corgan entered a deep depression, writing some songs for the upcoming album in the parking garage where he lived at the time.
Mainstream breakout and Siamese Dream: 1992–1994
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'."
Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000.
Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Hüsker Dü frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world".
In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album.
Mellon Collie and the Infinite Sadness: 1995–1997
During 1995, Corgan wrote about 56 songs, following which the band went into the studio with producers Flood and Alan Moulder to work on what Corgan described as "The Wall for Generation X", and which became Mellon Collie and the Infinite Sadness, a double album of twenty-eight songs, lasting over two hours (the vinyl version of the album contained three records, two extra songs, and an alternate track listing). The songs were intended to hang together conceptually as a symbol of the cycle of life and death. Praised by Time as "the group's most ambitious and accomplished work yet", Mellon Collie debuted at number one on the Billboard 200 in October 1995. Even more successful than Siamese Dream, it was certified ten times platinum in the United States and became the best-selling double album of the decade. It also garnered seven 1997 Grammy Award nominations, including Album of the Year. The band won only the Best Hard Rock Performance award, for the album's lead single "Bullet with Butterfly Wings". The album spawned five singles—"Bullet with Butterfly Wings", "1979", "Zero", "Tonight, Tonight" which Corgan stated was inspired by the Cheap Trick song "I'll Be with You Tonight", and "Thirty-Three"—of which the first three were certified gold and all but "Zero" entered the Top 40. Many of the songs that did not make it onto Mellon Collie were released as B-sides to the singles, and were later compiled in The Aeroplane Flies High box set. The set was originally limited to 200,000 copies, but more were produced to meet demand.
In 1996 the Pumpkins undertook an extended world tour in support of Mellon Collie. Corgan's look during this period—a shaved head, a long sleeve black shirt with the word "Zero" printed on it, and silver pants—became iconic. That year, the band also made a guest appearance in an episode of The Simpsons, "Homerpalooza". With considerable video rotation on MTV, major industry awards, and "Zero" shirts selling in many malls, the Pumpkins were considered one of the most popular bands of the time.
In May, the Smashing Pumpkins played a gig at the Point Theatre in Dublin, Ireland. Despite the band's repeated requests for moshing to stop, a seventeen-year-old fan named Bernadette O'Brien was crushed to death. The concert ended early and the following night's performance in Belfast was cancelled out of respect for her. However, while Corgan maintained that moshing's "time [had] come and gone", the band would continue to request open-floor concerts throughout the rest of the tour.
The band suffered a personal tragedy on the night of July 11, 1996, when touring keyboardist Jonathan Melvoin and Chamberlin overdosed on heroin in a hotel room in New York City. Melvoin died, and Chamberlin was arrested for drug possession. A few days later, the band announced that Chamberlin had been fired as a result of the incident. The Pumpkins chose to finish the tour, and hired drummer Matt Walker and keyboardist Dennis Flemion. Corgan later said the decision to continue touring was the worst decision the band had ever made, damaging both their music and their reputation. Chamberlin admitted in a 1994 Rolling Stone cover story that in the past he'd "gotten high in every city in this country and probably half the cities in Europe." But in recent years, he had reportedly been clean. On July 17, the Pumpkins issued a statement in which they said, "For nine years we have battled with Jimmy's struggles with the insidious disease of drug and alcohol addiction. It has nearly destroyed everything we are and stand for. … We wish [him] the best we have to offer". Meanwhile, the band had given interviews since the release of Mellon Collie stating that it would be the last conventional Pumpkins record, and that rock was becoming stale. James Iha said at the end of 1996, "The future is in electronic music. It really seems boring just to play rock music."
Adore, Machina, and breakup: 1998–2000
After the release of Mellon Collie, the Pumpkins contributed many songs to various compilations. Released in early 1997, the song "Eye", which appeared on the soundtrack to David Lynch's Lost Highway, relied almost exclusively on electronic instruments and signaled a drastic shift from the Pumpkins' previous musical styles. At the time, Corgan stated his "idea [was] to reconfigure the focus and get away from the classic guitars-bass-drum rock format." Later that year, the group contributed "The End Is the Beginning Is the End" to the soundtrack for the film Batman & Robin. With Matt Walker on drums, the song featured a heavy sound similar to "Bullet with Butterfly Wings" while still having strong electronic influences. The song later won the 1998 Grammy for Best Hard Rock Performance. Though Corgan announced that the song represented the sound people could expect from the band in the future, the band's next album would feature few guitar-driven songs.
Recorded following the death of Corgan's mother and his divorce, 1998's Adore represented a significant change of style from the Pumpkins' previous guitar-based rock, veering into electronica. The record, cut with assistance from drum machines and studio drummers including Matt Walker, was infused with a darker aesthetic than much of the band's earlier work. The group also modified its public image, shedding its alternative rock look for a more subdued appearance. Although Adore received favorable reviews and was nominated for Best Alternative Performance at the Grammy Awards, the album had only sold about 830,000 copies in the United States by the end of the year. The album nonetheless debuted at number 2 on the Billboard 200 and sold three times as many copies overseas. The band began a seventeen-date, fifteen-city charity North American tour in support of Adore. At each stop on the tour, the band donated 100 percent of tickets sales to a local charity organization. The tour's expenses were entirely funded out of the band's own pockets. All told, the band donated over $2.8 million to charity as a result of the tour. On October 31, 1998 during Halloween, the band opened for Kiss at Dodger Stadium in Los Angeles, dressed in costume as The Beatles.
In 1999 the band surprised fans by reuniting with a rehabilitated Jimmy Chamberlin for a brief tour dubbed "The Arising", which showcased both new and classic material. The lineup was short-lived, however, as the band announced the departure of Wretzky in September during work on the album Machina/The Machines of God. Former Hole bassist Melissa Auf der Maur was recruited for the "Sacred and Profane" tour in support of the album and appeared in the videos accompanying its release. Released in 2000, Machina was initially promoted as the Pumpkins' return to a more traditional rock sound, after the more gothic, electronic-sounding Adore. The album debuted at number three on the Billboard charts, but quickly disappeared and as of 2007 had only been certified gold. Music journalist Jim DeRogatis, who described the album as "one of the strongest of their career", noted that the stalled sales for Machina in comparison to teen pop ascendant at the time "seems like concrete proof that a new wave of young pop fans has turned a deaf ear toward alternative rock."
On May 23, 2000, in a live radio interview on KROQ-FM (Los Angeles), Billy Corgan announced the band's decision to break up at the end of that year following additional touring and recording. The group's final album before the break-up, Machina II/The Friends & Enemies of Modern Music, was released in September 2000 in a limited pressing on vinyl with permission and instructions for free redistribution on the Internet by fans. Only twenty-five copies were cut, each of which was hand numbered and given to friends of the band along with band members themselves. The album, released under the Constantinople Records label created by Corgan, consisted of one double LP and three ten-inch EPs. Originally, the band asked Virgin to offer Machina II as a free download to anyone who bought Machina. When the record label declined, Corgan opted to release the material independently.
On December 2, 2000, Smashing Pumpkins played a farewell concert at The Metro, the same Chicago club where their career had effectively started twelve years earlier. The four-and-a-half-hour-long show featured 35 songs spanning the group's career, and attendees were given a recording of the band's first concert at The Metro, Live at Cabaret Metro 10-5-88. The single "Untitled" was released commercially to coincide with the farewell show.
Post-breakup: 2001–2004
In 2001 the compilation Rotten Apples was released. The double-disc version of the album, released as a limited edition, included a collection of B-sides and rarities called Judas O. The Greatest Hits Video Collection DVD was also released at the same time. This was a compilation of all of the Pumpkins promo videos from Gish to Machina along with unreleased material. Vieuphoria was released on DVD in 2002, as was the soundtrack album Earphoria, previously released solely to radio stations in 1994.
Billy Corgan and Jimmy Chamberlin reunited in 2001 as members of Corgan's next project, the short-lived supergroup Zwan. The group's only album, Mary Star of the Sea, was released in 2003. After cancelling a few festival appearances, Corgan announced the demise of the band in 2003. During 2001 Corgan also toured as part of New Order and provided vocals on their comeback album Get Ready. In October 2004 Corgan released his first book, Blinking with Fists, a collection of poetry. In June 2005, he released a solo album, TheFutureEmbrace, which he described as "(picking) up the thread of the as-yet-unfinished work of the Smashing Pumpkins". Despite this, it was greeted with generally mixed reviews and lackluster sales. Only one single, "Walking Shade", was released in support of the album.
In addition to drumming with Zwan, Jimmy Chamberlin also formed an alternative rock/jazz fusion project band called Jimmy Chamberlin Complex. The group released an album in 2005 titled Life Begins Again. Corgan provided guest vocals on the track "Lokicat". James Iha served as a guitarist in A Perfect Circle, appearing on their Thirteenth Step club tour and 2004 album, eMOTIVe. He has also been involved with other acts such as Chino Moreno's Team Sleep and Vanessa and the O's. He continues to work with Scratchie Records, his own record label, as well. D'arcy Wretzky has, aside from one radio interview in 2009, not made any public statements or appearances nor given any interviews since leaving the band in 1999. On January 25, 2000, she was arrested after she allegedly purchased three bags of cocaine, but after successfully completing a court-ordered drug education program, the charges were dropped.
Corgan insisted during this period that the band would not reform, although when Zwan broke up he announced, "I think my heart was in Smashing Pumpkins […] I think it was naive of me to think that I could find something that would mean as much to me." Corgan said in 2005, "I never wanted to leave the Smashing Pumpkins. That was never the plan." On February 17, 2004, Corgan posted a message on his personal blog calling Wretzky a "mean-spirited drug addict" and blaming Iha for the breakup of the Smashing Pumpkins. On June 3, 2004, he added that "the depth of my hurt [from Iha] is only matched with the depth of my gratitude". Iha responded to Corgan's claims in 2005, saying, "No, I didn't break up the band. The only person who could have done that is Billy."
Reformation and Zeitgeist: 2005–2008
On June 21, 2005, the day of the release of his first solo album TheFutureEmbrace, Corgan took out full-page advertisements in the Chicago Tribune and Chicago Sun-Times to announce that he planned to reunite the band. "For a year now", Corgan wrote, "I have walked around with a secret, a secret I chose to keep. But now I want you to be among the first to know that I have made plans to renew and revive the Smashing Pumpkins. I want my band back, and my songs, and my dreams". Corgan and Chamberlin were verified as participants in the reunion, but there was question as to whether other former members of the band would participate.
In April 2007 Iha and Auf der Maur separately confirmed that they were not taking part in the reunion. Chamberlin would later state that Iha and Wretzky "didn't want to be a part of" the reunion. The Smashing Pumpkins performed live for the first time since 2000 on May 22, 2007, in Paris, France. There, the band unveiled new touring members: guitarist Jeff Schroeder, bassist Ginger Reyes, and keyboardist Lisa Harriton. That same month, "Tarantula" was released as the first single from the band's forthcoming album. On July 7, the band performed at the Live Earth concert in New Jersey.
The band's new album, Zeitgeist, was released that same month on Reprise Records, entering the Billboard charts at number two and selling 145,000 copies in its first week. Zeitgeist received mixed reviews, with much of the criticism targeted at the absence of half of the original lineup. The album divided the Pumpkins' fanbase. Corgan would later admit, "I know a lot of our fans are puzzled by Zeitgeist. I think they wanted this massive, grandiose work, but you don't just roll out of bed after seven years without a functioning band and go back to doing that".
Corgan and Chamberlin continued to record as a duo, releasing the four-song EP American Gothic in January 2008 and the singles "Superchrist" and "G.L.O.W." later that year. That November, the group released the DVD If All Goes Wrong, which chronicled the group's 2007 concert residences in Asheville, North Carolina and San Francisco, California. In late 2008, the band commenced on a controversy-riddled 20th Anniversary Tour. Around this time, Corgan said the group will make no more full-length records in order to focus exclusively on singles, explaining, "The listening patterns have changed, so why are we killing ourselves to do albums, to create balance, and do the arty track to set up the single? It's done."
Teargarden and Oceania: 2009–2013
In March 2009 Corgan announced on the band's website that Chamberlin had left the group and would be replaced. Chamberlin subsequently stated that his departure from the band is "a positive move forward for me. I can no longer commit all of my energy into something that I don't fully possess." Chamberlin stressed that the split was amicable, commenting, "I am glad [Corgan] has chosen to continue under the name. It is his right." Chamberlin soon formed the band Skysaw, which has released an album and toured in support of Minus the Bear. In July 2009 Billy Corgan formed a new group called Spirits in the Sky, initially as a tribute band to Sky Saxon of the Seeds, who had recently died. The following month Corgan confirmed on the band's website that 19-year-old Spirits in the Sky drummer Mike Byrne had replaced Chamberlin and that the pair was working on new Pumpkins recordings.
The group announced plans to release a 44-track concept album, Teargarden by Kaleidyscope, for free over the Internet one track at a time. The first track, "A Song for a Son", was released in December 2009 to moderate press acclaim. In March 2010 Ginger Reyes officially left the band, prompting an open call for auditions for a new bassist. In May, Nicole Fiorentino announced she had joined the band as bass player, and would be working on Teargarden by Kaleidyscope. The new lineup went on a world tour through to the end of 2010. One of the first shows with the new lineup was a concert to benefit Matthew Leone, bassist for the rock band Madina Lake, at the Metro on July 27, 2010. In late 2010 all four members contributed to the sessions for the third volume of Teargarden.
On April 26, 2011, Corgan announced that the Smashing Pumpkins would be releasing a new album titled Oceania, which he labeled as "an album within an album" in regards to the Teargarden by Kaleidyscope project, in the fall. As with the previous recording sessions, all four band members contributed to the project. Also, the entire album catalog was to be remastered and reissued with bonus tracks, starting with Gish and Siamese Dream in November 2011. The pre-Gish demos, Pisces Iscariot, and Mellon Collie and the Infinite Sadness were released in 2012, with The Aeroplane Flies High released the following year. Adore was released in 2014, and Machina/The Machines of God and the yet commercially unreleased Machina II/Friends and Enemies of Modern Music are expected to be combined, remixed, and released in the same year. The band did a thirteen-city US tour in October 2011 followed by a European tour in November and December.
Oceania was released on June 19, 2012, and received generally positive reviews. The album debuted at No. 4 on the Billboard 200 and at No. 1 on the Billboard Independent. The album spawned two singles, "The Celestials" and "Panopticon". The band proceeded to tour in support of the album, including a US tour involving playing the album in its entirety. By September 2012, Corgan stated that the band had already begun work on their next album. However, despite this, the band concentrated on touring, playing at Glastonbury Festival, Dour Festival and the Barclays Center, where they recorded Oceania: Live in NYC, which was released on September 24, 2013.
Monuments to an Elegy: 2014–2016
On March 25, 2014, Corgan announced he had signed a new record deal with BMG, for two new albums, titled Monuments to an Elegy and Day for Night, respectively. In June, it was revealed that Mike Byrne was no longer in the band, to be replaced by Tommy Lee of Mötley Crüe on the new album, and Fiorentino would not be recording on the album either. Monuments to an Elegy was released on December 5, 2014, to generally positive reviews. The band toured in support of the album starting on November 26, with Rage Against the Machine's Brad Wilk filling in on drums and the Killers' Mark Stoermer filling in on bass. The follow-up proposed album Day For Night was cited for delayed late 2015 or early 2016 release.
Later in 2015 Corgan announced that the band would embark on a co-headlining tour of North America with Marilyn Manson, "The End Times Tour", across July and August 2015. Prior to the co-headlining dates, the band performed a series of acoustic shows with drum machines and tapes for percussion. When the time came for the co-headlining tour, plans for a drummer fell through and Corgan recruited Chamberlin to reunite for the shows. On February 1, 2016, it was announced that the band would continue their In Plainsong acoustic tour with Jimmy Chamberlin on drums and were planning to head "straight to the studio after the dates to record a brand new album inspired by the sounds explored in the new acoustic setting". On February 25, 2016, Corgan posted a video from a Los Angeles studio on the band's Facebook account, giving an update on the writing process for the new songs for the upcoming album to be released after the In Plainsong tour.
The tour began in Portland, Oregon, on March 22, 2016.
Iha and Chamberlin's return; Shiny and Oh So Bright and Cyr: 2018–present
On his birthday on March 26, 2016, original guitarist James Iha joined Billy Corgan, Jimmy Chamberlin, and Jeff Schroeder on stage unannounced at the Ace Hotel in downtown Los Angeles. He performed a few songs, including "Mayonaise", "Soma" and "Whir" marking his first appearance with the Smashing Pumpkins in 16 years. Iha also played at the second of the two Smashing Pumpkins shows at the Ace Hotel the following day, which was Easter Sunday. Iha joined the Pumpkins for a third time at their concert of April 14 at the Civic Opera House in Chicago. In July, Corgan began hinting of the possibility of reuniting the band original lineup, of himself, Iha, Wretzky, and Chamberlin, and in August, he stated he had begun reaching out to the original lineup about the feasibility of a reunion, including speaking to Wretzky for the first time in sixteen years. Despite the comments, Corgan would spend much of 2017 working on solo material – recording and releasing the solo album Ogilala and beginning work on another solo album for 2018. In June 2017 Chamberlin also mentioned the possibility of a reunion tour in 2018. In January 2018 Corgan shared a photo of himself, Iha, and Chamberlin together in recording studio. In February 2018 Corgan announced that he was working with music producer Rick Rubin on a future Smashing Pumpkins album, that there were currently 26 songs he was actively working on, and that "the guitar feels once again like the preferred weapon of choice." Soon afterwards, Corgan shared a photo of sound equipment with Iha's name on a label, as well as announcing recording was finished on the album.
On February 15, 2018, the band officially announced that founding members Iha and Chamberlin were back in the band. They embarked on the Shiny And Oh So Bright Tour starting in July, with a focus on performing material from their first five studio albums. and sold over 350,000 tickets and sold out arenas including The Forum, United Center, and Madison Square Garden. Original bassist D'arcy Wretzky claimed she had been offered a contract to rejoin the band but Corgan rescinded the offer soon after. Corgan released a statement denying the claims, stating "Ms. Wretzky has repeatedly been invited out to play with the group, participate in demo sessions, or at the very least, meet face-to-face, and in each and every instance she always deferred". Jack Bates (son of Joy Division bassist Peter Hook) played bass on the tour. Bates previously toured with the Smashing Pumpkins in 2015. Multi-instrumentalist Katie Cole rejoined the band for the tour as well, singing backup vocals and playing keyboards and guitar.
In March 2018, Corgan mentioned the band planned to release two EPs in 2018, with the first tentatively planned for May. On June 8, 2018, the first single from the set of music, "Solara", was released. On August 2, 2018, the band celebrated their 30th anniversary by performing in Holmdel, New Jersey. with several notable special guests including Courtney Love, Chino Moreno, Davey Havok, Peter Hook, Mark McGrath, and Dave Keuning and Mark Stoermer of The Killers. In September 2018, they announced the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun., released via Napalm Records on November 16, 2018, which debuted at number 54 on the Billboard 200 chart.
After touring through much of 2019, Corgan noted in January 2020 that the band was currently working on 21 songs for a future album release. On August 28, 2020, the band released the single and video for "Cyr", along with a second track titled "The Colour of Love" from their album Cyr, which was released through their new record label Sumerian Records on November 27, 2020. It serves as the second part of the Shiny and Oh So Bright series. On September 25, 2020, the band released another single from Cyr that included the songs "Confessions of a Dopamine Addict" and "Wrath". On October 9, 2020, the band released a third single for Cyr that featured the tracks "Anno Satana" and "Birch Grove". On October 29, the band released "Ramona" and "Wyttch" as the fourth pair of singles. On November 20, 2020, the songs "Purple Blood" and "Dulcet in E" were released as the fifth and final single for Cyr. The following week, on November 27, 2020, the band released Cyr. Despite never getting to properly tour Cyr, the band did play four songs from the album at their headlining shows at Riot Fest and Sea.Hear.Now Festival in September 2021.
In late 2020, Corgan announced that the band would begin work on another double album for release in 2021, although the year passed without the album releasing. The double album is to serve as a sequel to the overarching story of Mellon Collie and the Infinite Sadness and Machina: The Machines of God. On February 22, the band announced on social media the Rock Invasion 2 Tour, which had previously been set to take place in spring 2020, but had been postponed to fall 2020 and subsequently canceled due to the COVID-19 pandemic. The newly announced incarnation of the tour had entirely new locations spanning 11 US cities accompanying the band's spring festival appearances and four performances in Mexico, their first since 2013.
Musical style, influences, and legacy
The direction of the band is dominated by lead guitarist, lead vocalist, keyboardist, bassist and principal songwriter Billy Corgan. Journalist Greg Kot wrote, "The music [of the Smashing Pumpkins] would not be what it is without his ambition and vision, and his famously fractured relationships with his family, friends, and bandmembers." Melissa Auf der Maur commented upon news of the group's reunion, "Everyone knows Billy doesn't need too many people to make a Pumpkins record, other than Jimmy [Chamberlin]—who he has on board." In a 2015 interview Corgan himself referred to the current iteration of the band "as sort of an open source collective" noting that "It's whoever feels right at the time." Many of Corgan's lyrics for the Pumpkins are cathartic expressions of emotion, full of personal musings and strong indictments of himself and those close to him. Music critics were not often fans of Corgan's angst-filled lyrics. Jim DeRogatis wrote in a 1993 Chicago Sun-Times article that Corgan's lyrics "too often sound like sophomoric poetry", although he viewed the lyrics of later albums Adore and Machina as an improvement. The band's songs have been described as "anguished, bruised reports from Billy Corgan's nightmare-land" by journalist William Shaw.
Smashing Pumpkins, unlike many alternative rock bands at the time, disavowed the influence of punk rock on their sound. Overall, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and electronica in later recordings.
The Smashing Pumpkins' distinctive sound up until Adore involved layering numerous guitar tracks onto a song during the recording process, a tactic that Mellon Collie and the Infinite Sadness coproducer Flood called the "Pumpkin guitar overdub army." Although there were a lot of overdubbed parts on Gish, Corgan began to really explore the possibilities of overdubbing with Siamese Dream; Corgan has stated that "Soma" alone contains up to 40 overdubbed guitar parts. While Corgan knew many of the songs would be difficult or impossible to replicate from their recorded versions in concert (in fact, some songs were drastically altered for live performance), he has explained the use of overdubbing by posing the question "When you are faced with making a permanent recorded representation of a song, why not endow it with the grandest possible vision?" This use of multilayered sounds was inspired by Corgan's love of 1970s popular artists & bands such as: David Bowie, Cheap Trick, Queen, Boston, and the Electric Light Orchestra, as well as shoegaze, a British alternative rock style of the late 1980s and early 1990s that relied on swirling layers of guitar noise for effect. Mellon Collie coproducer Alan Moulder was originally hired to mix Siamese Dream because Corgan was a fan of his work producing shoegaze bands such as My Bloody Valentine, Ride, and Slowdive.
Like many contemporary alternative bands, the Smashing Pumpkins utilized shifts in song dynamics, going from quiet to loud and vice versa. Hüsker Dü's seminal album Zen Arcade demonstrated to the band how they could place gentler material against more aggressive fare, and Corgan made such shifts in dynamics central to the pursuit of his grand musical ambitions. Corgan said he liked the idea of creating his own alternative universe through sound that essentially tells the listener, "Welcome to Pumpkin Land, this is what it sounds like on Planet Pumpkin." This emphasis on atmosphere carried through to Adore (described as "arcane night music" in prerelease promotion) and the Machina albums (concept records that tell the story of a fictional rock band).
The Pumpkins drew inspiration from a variety of other genres, some unfashionable during the 1990s among music critics. Corgan in particular was open about his appreciation of heavy metal, citing Dimebag Darrell of Pantera as his favorite contemporary guitarist. When one interviewer commented to Corgan and Iha that "Smashing Pumpkins is one of the groups that relegitimized heavy metal" and that they "were among the first alternative rockers to mention people like Ozzy and Black Sabbath with anything other than contempt". Corgan went on to rave about Black Sabbath's Master of Reality and Judas Priest's Unleashed in the East. The song "Zero", which reminded Iha of Judas Priest, is an example of what the band dubbed "cybermetal." Post-punk and gothic rock bands like Joy Division/New Order, Bauhaus, the Cure, and Depeche Mode were formative influences on the band, which covered such artists in concert and on record. Corgan also cited Siouxsie and the Banshees saying it was important to point back to bands that influenced them. Psychedelic rock was also referenced often in the band's early recordings; according to Corgan, "In typical Pumpkins fashion, no one at that point really liked loud guitars or psychedelic music so, of course, that's exactly what we had to do." Corgan felt that the band's guitars "are a mixture of heavy metal and 80s alternative rock. I think of Cure and Siouxsie and the Banshees". Corgan acknowledged that a chord he jokingly claimed as "the Pumpkin chord" (a G# octave chord at the eleventh fret of a guitar with the low E string played over it), used as the basis for "Cherub Rock", "Drown", and other songs, was in fact previously used by Jimi Hendrix. Other early influences cited by Corgan include Cream, the Stooges, and Blue Cheer.
Regarding the band's influence upon other groups, Greg Kot wrote in 2001, "Whereas Nirvana spawned countless mini-Nirvanas, the Pumpkins remain an island unto themselves." Still, some artists and bands have been influenced by the Pumpkins, such as Nelly Furtado, Marilyn Manson, Third Eye Blind, Mark Hoppus of Blink-182, Tegan and Sara, Fall Out Boy, Rivers Cuomo, Panic! at the Disco, Silversun Pickups, and My Chemical Romance. My Chemical Romance vocalist Gerard Way has said that they pattern their career upon the Pumpkins', including music videos. The members of fellow Chicago band Kill Hannah are friends with Corgan, and lead singer Mat Devine has compared his group to the Pumpkins.
The group has sold over 30 million albums worldwide as of October 2012, and sales in the United States alone reaching 19.75 million.
Music videos
The Smashing Pumpkins have been praised as "responsible for some of the most striking and memorable video clips" and for having "approached videos from a completely artistic standpoint rather than mere commercials to sell albums". MTV's 2001 anniversary special Testimony: 20 Years of Rock on MTV credited the Pumpkins, along with Nine Inch Nails, with treating music videos as an art form during the 1990s. Corgan has said, "We generally resisted the idea of what I call the classic MTV rock video, which is like lots of people jumping around and stuff." The band worked with video directors including Kevin Kerslake ("Cherub Rock"), Samuel Bayer ("Bullet with Butterfly Wings"), and, most frequently, the team of Jonathan Dayton and Valerie Faris ("Rocket", "1979", "Tonight, Tonight", "The End Is the Beginning Is the End", and "Perfect"). Corgan, who was frequently heavily involved in the conception of the videos, said of Dayton and Faris, "I know my [initial] versions are always darker, and they're always talking me into something a little kinder and gentler." Videos like "Today", "Rocket", and "1979" dealt with images taken from middle American culture, albeit exaggerated. The group's videos so often avoid the literal interpretation of the song lyrics that the video for "Thirty-Three", with images closely related to the words of the song, was created as an intentional stylistic departure.
The band was nominated for several MTV Video Music Awards during the 1990s. In 1996, the group won eight VMAs total for the "1979" and "Tonight, Tonight" videos, including the top award, Video of the Year, for "Tonight, Tonight". The video was also nominated for a Grammy at the 1997 ceremony. Of the "Tonight, Tonight" video, Corgan remarked, "I don't think we've ever had people react [like this]... it just seemed to touch a nerve."
Shortly after the band's 2000 breakup, the Greatest Hits Video Collection was released, collecting the band's music videos from 1991 to 2000 and including commentary from Corgan, Iha, Chamberlin, Wretzky, and various music video directors with outtakes, live performances, and the extended "Try, Try, Try" short film.
Band members
Current members
Billy Corgan – lead vocals, guitars, keyboards, bass guitar (1988–2000, 2006–present)
James Iha – guitars, bass guitar, vocals (1988–2000, 2018–present)
Jimmy Chamberlin – drums (1988–1996, 1998–2000, 2006–2009, 2015–present)
Jeff Schroeder – guitars, keyboards (2007–present)
Live members
Jack Bates – bass guitar (2015–present)
Katie Cole – keyboards, backing vocals (2015–present)
Former members
D'arcy Wretzky – bass guitar, backing vocals (1988–1999)
Melissa Auf der Maur – bass guitar (1999–2000)
Mike Byrne – drums, backing vocals, keyboards (2009–2014)
Nicole Fiorentino – bass guitar, backing vocals, keyboards (2010–2014)
Awards
American Music Awards
1997 – Best Alternative Artist
Grammy Awards
1997 – "Bullet with Butterfly Wings" – Best Hard Rock Performance
1998 – "The End Is the Beginning Is the End" – Best Hard Rock Performance
MTV Europe Music Awards
1996 – Best Rock
MTV Video Music Awards
1996 – "Tonight, Tonight" – Video of the Year, Breakthrough Video, Best Direction, Best Visual Effects, Best Art Direction, Best Cinematography
1996 – "1979" – Best Alternative Video
Discography
Studio albums
Gish (1991)
Siamese Dream (1993)
Mellon Collie and the Infinite Sadness (1995)
Adore (1998)
Machina/The Machines of God (2000)
Machina II/The Friends & Enemies of Modern Music (2000)
Zeitgeist (2007)
Oceania (2012)†
Monuments to an Elegy (2014)†
Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018)
Cyr (2020)
Notes
† Part of Teargarden by Kaleidyscope (2009–2014), an overarching project abandoned before completion.
See also
List of artists who reached number one on the U.S. alternative rock chart
Notes
References
Bibliography
Further reading
External links
1988 establishments in Illinois
Alternative rock groups from Chicago
Articles which contain graphical timelines
Caroline Records artists
Grammy Award winners
MTV Europe Music Award winners
Musical groups established in 1988
Musical groups disestablished in 2000
Musical groups reestablished in 2006
Musical quartets
American musical trios
Reprise Records artists
Sumerian Records artists
Virgin Records artists
Musical groups from Chicago
| true |
[
"Here is the discography of American R&B/soul vocal group The Pips.\n\nAlbums\n\nStudio albums\n\nLive albums\n\nSoundtrack albums\n\nCompilation albums\n\nSingles\n\nThe early years (1958–1965)\n\n Notes\n Single credited to The Pips but nonetheless featuring Gladys Knight; the group's name change to Gladys Knight & the Pips hadn't taken place yet\n Recording by The Pips alone without Gladys Knight\n Single credited to Gladys Knight alone; may be a solo recording\n Single credited to Gladys Knight with \"vocal background by the Pips\"\n From November 30, 1963 to January 23, 1965, Billboard Magazine did not publish a Hot R&B songs chart; the peak positions for R&B singles listed during this period are from Cash Box Magazine.\n\nThe Soul (Motown) era (1966–1972)\n\nThe Buddah era (1973–1978)\n\nThe later years (1980–1988)\n\nOther appearances\n\nThe Pips\nListed below are recordings made without Gladys Knight.\n\nStudio albums\n\nSingles\n\nReferences\n\nRhythm and blues discographies\nDiscographies of American artists\nSoul music discographies",
"Recorded live at the Warfield Theater in San Francisco, California on May 31, 2003, this video features the Trey Anastasio Band (TAB) with Carlos Santana sitting in for a number of covers and Anastasio originals. It was released under the name Live at the Warfield. It features the entire second set of the show, with Santana sitting in on every song. Each of the four songs in the second set segued into one another. In addition, a bonus track, \"The Way I Feel\", was taken from the first set of the show and also includes Santana sitting in. Santana also sat in for the song \"Last Tube\" during the first set, but that was not included on the DVD.\n\nHighlights include a 27-minute \"Mr. Completely\" and an experimental version of Duke Ellington's \"Caravan.\" Trey's main band, Phish, covered Caravan frequently between 1990 and 1996, after which time it was dropped from their repertoire. This was the first time that TAB had covered Caravan.\n\nAll proceeds from the sale of the DVDs of this show were distributed to the Waterwheel Foundation and the Milagro Foundation.\n\nThis show was part of the brief tour TAB did in between Phish's winter and summer tours in 2003. Other guests during this tour included Mike Gordon and Warren Hayes. This show was also one of the few times during this tour that Trey did not perform any solo acoustic songs. For the encore, TAB played \"Root Down\" by the Beastie Boys for the first time. Santana did not sit in for the song.\n\nIn the summer of 1992, Phish was the opening act for Santana and the two often collaborated. In July 1996, Phish was booked as the opening act for Santana for three shows in Europe. Phish's opening set was rained out during the first of these shows, however Phish joined Santana for part of his headlining set later that night. Phish would also come on stage during Santana's set during the subsequent two shows, along with playing their own opening sets. Trey and Phish keyboardist Page Mcconnell sat in with Santana's band in April 1999 in San Francisco. The next time any member of Phish and Santana collaborated was at the TAB show at the Warfield in 2003. This is also the last time they have collaborated.\n\nTrack listing\n Mr. Completely> - 27:00\n John The Revelator> - 8:22\n Night Speaks To A Woman> - 12:33\n Caravan - 4:43\n The Way I Feel - 3:02\n\nReferences \n\n2003 live albums\nTrey Anastasio albums\n2003 video albums\nCollaborative albums\nLive video albums\nSantana (band) live albums"
] |
[
"The Smashing Pumpkins",
"Mainstream breakout: 1992-1994",
"How did the smashing pumpkins Breakout in 1992?",
"Amid this environment of intense internal pressure for the band to break through to widespread popularity,",
"did they publish any albums during this time?",
"late 1992 to begin work on their second album, with Butch Vig returning as producer."
] |
C_27a494717f8d47cfa84878b93037e00f_0
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what as the name of their second album?
| 3 |
what was the name of The Smashing Pumpkins' second album?
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The Smashing Pumpkins
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With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'." Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000. Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Husker Du frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world". In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album. CANNOTANSWER
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The recording environment for Siamese Dream was quickly marred by discord within the band.
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The Smashing Pumpkins (or Smashing Pumpkins) are an American alternative rock band from Chicago. Formed in 1988 by frontman Billy Corgan (lead vocals, guitar), D'arcy Wretzky (bass), James Iha (guitar), and Jimmy Chamberlin (drums), the band has undergone many line-up changes. The current lineup features Corgan, Chamberlin, Iha and guitarist Jeff Schroeder.
Disavowing the punk rock roots of many of their alt-rock contemporaries, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and, in later recordings, electronica. Corgan is the group's primary songwriter; his musical ambitions and cathartic lyrics have shaped the band's albums and songs, which have been described as "anguished, bruised reports from Billy Corgan's nightmare-land".
The Smashing Pumpkins broke into the musical mainstream with their second album, 1993's Siamese Dream. The group built its audience with extensive touring and their 1995 follow-up, the double album Mellon Collie and the Infinite Sadness, debuted at number one on the Billboard 200 album chart. With 30 million albums sold worldwide, the Smashing Pumpkins were one of the most commercially successful and critically acclaimed bands of the 1990s. However, internal fighting, drug use, and diminishing record sales led to a 2000 break-up.
In 2006, Corgan and Chamberlin reconvened to record a new Smashing Pumpkins album, Zeitgeist. After touring throughout 2007 and 2008 with a lineup including new guitarist Jeff Schroeder, Chamberlin left the band in early 2009. Later that year, Corgan began a new recording series with a rotating lineup of musicians entitled Teargarden by Kaleidyscope, which encompassed the release of stand-alone singles, compilation EP releases, and two full albums that also fell under the project's scope—Oceania in 2012 and Monuments to an Elegy in 2014. Chamberlin and Iha officially rejoined the band in February 2018. The reunited lineup released the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. in November 2018 and Cyr in November 2020.
History
Early years: 1988–1991
After the breakup of his gothic rock band The Marked, singer and guitarist Billy Corgan left St. Petersburg, Florida, to return to his native city of Chicago, where he took a job in a record store and formed the idea of a new band to be called the Smashing Pumpkins. While working there, he met guitarist James Iha. Adorning themselves with paisley and other psychedelic trappings, the two began writing songs together (with the aid of a drum machine) that were heavily influenced by the Cure and New Order. The duo performed live for the first time on July 9, 1988 at the Polish bar Chicago 21. This performance included only Corgan on bass and Iha on guitar with a drum machine. Shortly thereafter, Corgan met D'arcy Wretzky after a show by the Dan Reed Network where they argued the merits of the band. After finding out Wretzky played bass guitar, Corgan recruited her into the lineup, and the trio played a show at the Avalon Nightclub. After this show, Cabaret Metro owner Joe Shanahan agreed to book the band on the condition that they replace the drum
machine with a live drummer.
Jazz drummer Jimmy Chamberlin was recommended by a friend of Corgan's. Chamberlin knew little of alternative music and immediately changed the sound of the nascent band. As Corgan recalled of the period, "We were completely into the sad-rock, Cure kind of thing. It took about two or three practices before I realized that the power in his playing was something that enabled us to rock harder than we could ever have imagined." On October 5, 1988, the complete band took the stage for the first time at the Cabaret Metro.
In 1989, the Smashing Pumpkins made their first appearance on record with the compilation album Light Into Dark, which featured several Chicago alternative bands. The group released its first single, "I Am One", in 1990 on local Chicago label Limited Potential. The single sold out and they released a follow-up, "Tristessa", on Sub Pop, after which they signed to Caroline Records. The band recorded their 1991 debut studio album Gish with producer Butch Vig at his Smart Studios in Madison, Wisconsin for $20,000. In order to gain the consistency he desired, Corgan often played all instruments excluding drums, which created tension in the band. The music fused heavy metal guitars, psychedelia, and dream pop, garnering them comparisons to Jane's Addiction. Gish became a minor success, with the single "Rhinoceros" receiving some airplay on modern rock radio. After releasing the Lull EP in October 1991 on Caroline Records, the band formally signed with Virgin Records, which was affiliated with Caroline. The band supported the album with a tour that included opening for bands such as the Red Hot Chili Peppers, Jane's Addiction, and Guns N' Roses. During the tour, Iha and Wretzky went through a messy breakup, Chamberlin became addicted to narcotics and alcohol, and Corgan entered a deep depression, writing some songs for the upcoming album in the parking garage where he lived at the time.
Mainstream breakout and Siamese Dream: 1992–1994
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'."
Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000.
Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Hüsker Dü frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world".
In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album.
Mellon Collie and the Infinite Sadness: 1995–1997
During 1995, Corgan wrote about 56 songs, following which the band went into the studio with producers Flood and Alan Moulder to work on what Corgan described as "The Wall for Generation X", and which became Mellon Collie and the Infinite Sadness, a double album of twenty-eight songs, lasting over two hours (the vinyl version of the album contained three records, two extra songs, and an alternate track listing). The songs were intended to hang together conceptually as a symbol of the cycle of life and death. Praised by Time as "the group's most ambitious and accomplished work yet", Mellon Collie debuted at number one on the Billboard 200 in October 1995. Even more successful than Siamese Dream, it was certified ten times platinum in the United States and became the best-selling double album of the decade. It also garnered seven 1997 Grammy Award nominations, including Album of the Year. The band won only the Best Hard Rock Performance award, for the album's lead single "Bullet with Butterfly Wings". The album spawned five singles—"Bullet with Butterfly Wings", "1979", "Zero", "Tonight, Tonight" which Corgan stated was inspired by the Cheap Trick song "I'll Be with You Tonight", and "Thirty-Three"—of which the first three were certified gold and all but "Zero" entered the Top 40. Many of the songs that did not make it onto Mellon Collie were released as B-sides to the singles, and were later compiled in The Aeroplane Flies High box set. The set was originally limited to 200,000 copies, but more were produced to meet demand.
In 1996 the Pumpkins undertook an extended world tour in support of Mellon Collie. Corgan's look during this period—a shaved head, a long sleeve black shirt with the word "Zero" printed on it, and silver pants—became iconic. That year, the band also made a guest appearance in an episode of The Simpsons, "Homerpalooza". With considerable video rotation on MTV, major industry awards, and "Zero" shirts selling in many malls, the Pumpkins were considered one of the most popular bands of the time.
In May, the Smashing Pumpkins played a gig at the Point Theatre in Dublin, Ireland. Despite the band's repeated requests for moshing to stop, a seventeen-year-old fan named Bernadette O'Brien was crushed to death. The concert ended early and the following night's performance in Belfast was cancelled out of respect for her. However, while Corgan maintained that moshing's "time [had] come and gone", the band would continue to request open-floor concerts throughout the rest of the tour.
The band suffered a personal tragedy on the night of July 11, 1996, when touring keyboardist Jonathan Melvoin and Chamberlin overdosed on heroin in a hotel room in New York City. Melvoin died, and Chamberlin was arrested for drug possession. A few days later, the band announced that Chamberlin had been fired as a result of the incident. The Pumpkins chose to finish the tour, and hired drummer Matt Walker and keyboardist Dennis Flemion. Corgan later said the decision to continue touring was the worst decision the band had ever made, damaging both their music and their reputation. Chamberlin admitted in a 1994 Rolling Stone cover story that in the past he'd "gotten high in every city in this country and probably half the cities in Europe." But in recent years, he had reportedly been clean. On July 17, the Pumpkins issued a statement in which they said, "For nine years we have battled with Jimmy's struggles with the insidious disease of drug and alcohol addiction. It has nearly destroyed everything we are and stand for. … We wish [him] the best we have to offer". Meanwhile, the band had given interviews since the release of Mellon Collie stating that it would be the last conventional Pumpkins record, and that rock was becoming stale. James Iha said at the end of 1996, "The future is in electronic music. It really seems boring just to play rock music."
Adore, Machina, and breakup: 1998–2000
After the release of Mellon Collie, the Pumpkins contributed many songs to various compilations. Released in early 1997, the song "Eye", which appeared on the soundtrack to David Lynch's Lost Highway, relied almost exclusively on electronic instruments and signaled a drastic shift from the Pumpkins' previous musical styles. At the time, Corgan stated his "idea [was] to reconfigure the focus and get away from the classic guitars-bass-drum rock format." Later that year, the group contributed "The End Is the Beginning Is the End" to the soundtrack for the film Batman & Robin. With Matt Walker on drums, the song featured a heavy sound similar to "Bullet with Butterfly Wings" while still having strong electronic influences. The song later won the 1998 Grammy for Best Hard Rock Performance. Though Corgan announced that the song represented the sound people could expect from the band in the future, the band's next album would feature few guitar-driven songs.
Recorded following the death of Corgan's mother and his divorce, 1998's Adore represented a significant change of style from the Pumpkins' previous guitar-based rock, veering into electronica. The record, cut with assistance from drum machines and studio drummers including Matt Walker, was infused with a darker aesthetic than much of the band's earlier work. The group also modified its public image, shedding its alternative rock look for a more subdued appearance. Although Adore received favorable reviews and was nominated for Best Alternative Performance at the Grammy Awards, the album had only sold about 830,000 copies in the United States by the end of the year. The album nonetheless debuted at number 2 on the Billboard 200 and sold three times as many copies overseas. The band began a seventeen-date, fifteen-city charity North American tour in support of Adore. At each stop on the tour, the band donated 100 percent of tickets sales to a local charity organization. The tour's expenses were entirely funded out of the band's own pockets. All told, the band donated over $2.8 million to charity as a result of the tour. On October 31, 1998 during Halloween, the band opened for Kiss at Dodger Stadium in Los Angeles, dressed in costume as The Beatles.
In 1999 the band surprised fans by reuniting with a rehabilitated Jimmy Chamberlin for a brief tour dubbed "The Arising", which showcased both new and classic material. The lineup was short-lived, however, as the band announced the departure of Wretzky in September during work on the album Machina/The Machines of God. Former Hole bassist Melissa Auf der Maur was recruited for the "Sacred and Profane" tour in support of the album and appeared in the videos accompanying its release. Released in 2000, Machina was initially promoted as the Pumpkins' return to a more traditional rock sound, after the more gothic, electronic-sounding Adore. The album debuted at number three on the Billboard charts, but quickly disappeared and as of 2007 had only been certified gold. Music journalist Jim DeRogatis, who described the album as "one of the strongest of their career", noted that the stalled sales for Machina in comparison to teen pop ascendant at the time "seems like concrete proof that a new wave of young pop fans has turned a deaf ear toward alternative rock."
On May 23, 2000, in a live radio interview on KROQ-FM (Los Angeles), Billy Corgan announced the band's decision to break up at the end of that year following additional touring and recording. The group's final album before the break-up, Machina II/The Friends & Enemies of Modern Music, was released in September 2000 in a limited pressing on vinyl with permission and instructions for free redistribution on the Internet by fans. Only twenty-five copies were cut, each of which was hand numbered and given to friends of the band along with band members themselves. The album, released under the Constantinople Records label created by Corgan, consisted of one double LP and three ten-inch EPs. Originally, the band asked Virgin to offer Machina II as a free download to anyone who bought Machina. When the record label declined, Corgan opted to release the material independently.
On December 2, 2000, Smashing Pumpkins played a farewell concert at The Metro, the same Chicago club where their career had effectively started twelve years earlier. The four-and-a-half-hour-long show featured 35 songs spanning the group's career, and attendees were given a recording of the band's first concert at The Metro, Live at Cabaret Metro 10-5-88. The single "Untitled" was released commercially to coincide with the farewell show.
Post-breakup: 2001–2004
In 2001 the compilation Rotten Apples was released. The double-disc version of the album, released as a limited edition, included a collection of B-sides and rarities called Judas O. The Greatest Hits Video Collection DVD was also released at the same time. This was a compilation of all of the Pumpkins promo videos from Gish to Machina along with unreleased material. Vieuphoria was released on DVD in 2002, as was the soundtrack album Earphoria, previously released solely to radio stations in 1994.
Billy Corgan and Jimmy Chamberlin reunited in 2001 as members of Corgan's next project, the short-lived supergroup Zwan. The group's only album, Mary Star of the Sea, was released in 2003. After cancelling a few festival appearances, Corgan announced the demise of the band in 2003. During 2001 Corgan also toured as part of New Order and provided vocals on their comeback album Get Ready. In October 2004 Corgan released his first book, Blinking with Fists, a collection of poetry. In June 2005, he released a solo album, TheFutureEmbrace, which he described as "(picking) up the thread of the as-yet-unfinished work of the Smashing Pumpkins". Despite this, it was greeted with generally mixed reviews and lackluster sales. Only one single, "Walking Shade", was released in support of the album.
In addition to drumming with Zwan, Jimmy Chamberlin also formed an alternative rock/jazz fusion project band called Jimmy Chamberlin Complex. The group released an album in 2005 titled Life Begins Again. Corgan provided guest vocals on the track "Lokicat". James Iha served as a guitarist in A Perfect Circle, appearing on their Thirteenth Step club tour and 2004 album, eMOTIVe. He has also been involved with other acts such as Chino Moreno's Team Sleep and Vanessa and the O's. He continues to work with Scratchie Records, his own record label, as well. D'arcy Wretzky has, aside from one radio interview in 2009, not made any public statements or appearances nor given any interviews since leaving the band in 1999. On January 25, 2000, she was arrested after she allegedly purchased three bags of cocaine, but after successfully completing a court-ordered drug education program, the charges were dropped.
Corgan insisted during this period that the band would not reform, although when Zwan broke up he announced, "I think my heart was in Smashing Pumpkins […] I think it was naive of me to think that I could find something that would mean as much to me." Corgan said in 2005, "I never wanted to leave the Smashing Pumpkins. That was never the plan." On February 17, 2004, Corgan posted a message on his personal blog calling Wretzky a "mean-spirited drug addict" and blaming Iha for the breakup of the Smashing Pumpkins. On June 3, 2004, he added that "the depth of my hurt [from Iha] is only matched with the depth of my gratitude". Iha responded to Corgan's claims in 2005, saying, "No, I didn't break up the band. The only person who could have done that is Billy."
Reformation and Zeitgeist: 2005–2008
On June 21, 2005, the day of the release of his first solo album TheFutureEmbrace, Corgan took out full-page advertisements in the Chicago Tribune and Chicago Sun-Times to announce that he planned to reunite the band. "For a year now", Corgan wrote, "I have walked around with a secret, a secret I chose to keep. But now I want you to be among the first to know that I have made plans to renew and revive the Smashing Pumpkins. I want my band back, and my songs, and my dreams". Corgan and Chamberlin were verified as participants in the reunion, but there was question as to whether other former members of the band would participate.
In April 2007 Iha and Auf der Maur separately confirmed that they were not taking part in the reunion. Chamberlin would later state that Iha and Wretzky "didn't want to be a part of" the reunion. The Smashing Pumpkins performed live for the first time since 2000 on May 22, 2007, in Paris, France. There, the band unveiled new touring members: guitarist Jeff Schroeder, bassist Ginger Reyes, and keyboardist Lisa Harriton. That same month, "Tarantula" was released as the first single from the band's forthcoming album. On July 7, the band performed at the Live Earth concert in New Jersey.
The band's new album, Zeitgeist, was released that same month on Reprise Records, entering the Billboard charts at number two and selling 145,000 copies in its first week. Zeitgeist received mixed reviews, with much of the criticism targeted at the absence of half of the original lineup. The album divided the Pumpkins' fanbase. Corgan would later admit, "I know a lot of our fans are puzzled by Zeitgeist. I think they wanted this massive, grandiose work, but you don't just roll out of bed after seven years without a functioning band and go back to doing that".
Corgan and Chamberlin continued to record as a duo, releasing the four-song EP American Gothic in January 2008 and the singles "Superchrist" and "G.L.O.W." later that year. That November, the group released the DVD If All Goes Wrong, which chronicled the group's 2007 concert residences in Asheville, North Carolina and San Francisco, California. In late 2008, the band commenced on a controversy-riddled 20th Anniversary Tour. Around this time, Corgan said the group will make no more full-length records in order to focus exclusively on singles, explaining, "The listening patterns have changed, so why are we killing ourselves to do albums, to create balance, and do the arty track to set up the single? It's done."
Teargarden and Oceania: 2009–2013
In March 2009 Corgan announced on the band's website that Chamberlin had left the group and would be replaced. Chamberlin subsequently stated that his departure from the band is "a positive move forward for me. I can no longer commit all of my energy into something that I don't fully possess." Chamberlin stressed that the split was amicable, commenting, "I am glad [Corgan] has chosen to continue under the name. It is his right." Chamberlin soon formed the band Skysaw, which has released an album and toured in support of Minus the Bear. In July 2009 Billy Corgan formed a new group called Spirits in the Sky, initially as a tribute band to Sky Saxon of the Seeds, who had recently died. The following month Corgan confirmed on the band's website that 19-year-old Spirits in the Sky drummer Mike Byrne had replaced Chamberlin and that the pair was working on new Pumpkins recordings.
The group announced plans to release a 44-track concept album, Teargarden by Kaleidyscope, for free over the Internet one track at a time. The first track, "A Song for a Son", was released in December 2009 to moderate press acclaim. In March 2010 Ginger Reyes officially left the band, prompting an open call for auditions for a new bassist. In May, Nicole Fiorentino announced she had joined the band as bass player, and would be working on Teargarden by Kaleidyscope. The new lineup went on a world tour through to the end of 2010. One of the first shows with the new lineup was a concert to benefit Matthew Leone, bassist for the rock band Madina Lake, at the Metro on July 27, 2010. In late 2010 all four members contributed to the sessions for the third volume of Teargarden.
On April 26, 2011, Corgan announced that the Smashing Pumpkins would be releasing a new album titled Oceania, which he labeled as "an album within an album" in regards to the Teargarden by Kaleidyscope project, in the fall. As with the previous recording sessions, all four band members contributed to the project. Also, the entire album catalog was to be remastered and reissued with bonus tracks, starting with Gish and Siamese Dream in November 2011. The pre-Gish demos, Pisces Iscariot, and Mellon Collie and the Infinite Sadness were released in 2012, with The Aeroplane Flies High released the following year. Adore was released in 2014, and Machina/The Machines of God and the yet commercially unreleased Machina II/Friends and Enemies of Modern Music are expected to be combined, remixed, and released in the same year. The band did a thirteen-city US tour in October 2011 followed by a European tour in November and December.
Oceania was released on June 19, 2012, and received generally positive reviews. The album debuted at No. 4 on the Billboard 200 and at No. 1 on the Billboard Independent. The album spawned two singles, "The Celestials" and "Panopticon". The band proceeded to tour in support of the album, including a US tour involving playing the album in its entirety. By September 2012, Corgan stated that the band had already begun work on their next album. However, despite this, the band concentrated on touring, playing at Glastonbury Festival, Dour Festival and the Barclays Center, where they recorded Oceania: Live in NYC, which was released on September 24, 2013.
Monuments to an Elegy: 2014–2016
On March 25, 2014, Corgan announced he had signed a new record deal with BMG, for two new albums, titled Monuments to an Elegy and Day for Night, respectively. In June, it was revealed that Mike Byrne was no longer in the band, to be replaced by Tommy Lee of Mötley Crüe on the new album, and Fiorentino would not be recording on the album either. Monuments to an Elegy was released on December 5, 2014, to generally positive reviews. The band toured in support of the album starting on November 26, with Rage Against the Machine's Brad Wilk filling in on drums and the Killers' Mark Stoermer filling in on bass. The follow-up proposed album Day For Night was cited for delayed late 2015 or early 2016 release.
Later in 2015 Corgan announced that the band would embark on a co-headlining tour of North America with Marilyn Manson, "The End Times Tour", across July and August 2015. Prior to the co-headlining dates, the band performed a series of acoustic shows with drum machines and tapes for percussion. When the time came for the co-headlining tour, plans for a drummer fell through and Corgan recruited Chamberlin to reunite for the shows. On February 1, 2016, it was announced that the band would continue their In Plainsong acoustic tour with Jimmy Chamberlin on drums and were planning to head "straight to the studio after the dates to record a brand new album inspired by the sounds explored in the new acoustic setting". On February 25, 2016, Corgan posted a video from a Los Angeles studio on the band's Facebook account, giving an update on the writing process for the new songs for the upcoming album to be released after the In Plainsong tour.
The tour began in Portland, Oregon, on March 22, 2016.
Iha and Chamberlin's return; Shiny and Oh So Bright and Cyr: 2018–present
On his birthday on March 26, 2016, original guitarist James Iha joined Billy Corgan, Jimmy Chamberlin, and Jeff Schroeder on stage unannounced at the Ace Hotel in downtown Los Angeles. He performed a few songs, including "Mayonaise", "Soma" and "Whir" marking his first appearance with the Smashing Pumpkins in 16 years. Iha also played at the second of the two Smashing Pumpkins shows at the Ace Hotel the following day, which was Easter Sunday. Iha joined the Pumpkins for a third time at their concert of April 14 at the Civic Opera House in Chicago. In July, Corgan began hinting of the possibility of reuniting the band original lineup, of himself, Iha, Wretzky, and Chamberlin, and in August, he stated he had begun reaching out to the original lineup about the feasibility of a reunion, including speaking to Wretzky for the first time in sixteen years. Despite the comments, Corgan would spend much of 2017 working on solo material – recording and releasing the solo album Ogilala and beginning work on another solo album for 2018. In June 2017 Chamberlin also mentioned the possibility of a reunion tour in 2018. In January 2018 Corgan shared a photo of himself, Iha, and Chamberlin together in recording studio. In February 2018 Corgan announced that he was working with music producer Rick Rubin on a future Smashing Pumpkins album, that there were currently 26 songs he was actively working on, and that "the guitar feels once again like the preferred weapon of choice." Soon afterwards, Corgan shared a photo of sound equipment with Iha's name on a label, as well as announcing recording was finished on the album.
On February 15, 2018, the band officially announced that founding members Iha and Chamberlin were back in the band. They embarked on the Shiny And Oh So Bright Tour starting in July, with a focus on performing material from their first five studio albums. and sold over 350,000 tickets and sold out arenas including The Forum, United Center, and Madison Square Garden. Original bassist D'arcy Wretzky claimed she had been offered a contract to rejoin the band but Corgan rescinded the offer soon after. Corgan released a statement denying the claims, stating "Ms. Wretzky has repeatedly been invited out to play with the group, participate in demo sessions, or at the very least, meet face-to-face, and in each and every instance she always deferred". Jack Bates (son of Joy Division bassist Peter Hook) played bass on the tour. Bates previously toured with the Smashing Pumpkins in 2015. Multi-instrumentalist Katie Cole rejoined the band for the tour as well, singing backup vocals and playing keyboards and guitar.
In March 2018, Corgan mentioned the band planned to release two EPs in 2018, with the first tentatively planned for May. On June 8, 2018, the first single from the set of music, "Solara", was released. On August 2, 2018, the band celebrated their 30th anniversary by performing in Holmdel, New Jersey. with several notable special guests including Courtney Love, Chino Moreno, Davey Havok, Peter Hook, Mark McGrath, and Dave Keuning and Mark Stoermer of The Killers. In September 2018, they announced the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun., released via Napalm Records on November 16, 2018, which debuted at number 54 on the Billboard 200 chart.
After touring through much of 2019, Corgan noted in January 2020 that the band was currently working on 21 songs for a future album release. On August 28, 2020, the band released the single and video for "Cyr", along with a second track titled "The Colour of Love" from their album Cyr, which was released through their new record label Sumerian Records on November 27, 2020. It serves as the second part of the Shiny and Oh So Bright series. On September 25, 2020, the band released another single from Cyr that included the songs "Confessions of a Dopamine Addict" and "Wrath". On October 9, 2020, the band released a third single for Cyr that featured the tracks "Anno Satana" and "Birch Grove". On October 29, the band released "Ramona" and "Wyttch" as the fourth pair of singles. On November 20, 2020, the songs "Purple Blood" and "Dulcet in E" were released as the fifth and final single for Cyr. The following week, on November 27, 2020, the band released Cyr. Despite never getting to properly tour Cyr, the band did play four songs from the album at their headlining shows at Riot Fest and Sea.Hear.Now Festival in September 2021.
In late 2020, Corgan announced that the band would begin work on another double album for release in 2021, although the year passed without the album releasing. The double album is to serve as a sequel to the overarching story of Mellon Collie and the Infinite Sadness and Machina: The Machines of God. On February 22, the band announced on social media the Rock Invasion 2 Tour, which had previously been set to take place in spring 2020, but had been postponed to fall 2020 and subsequently canceled due to the COVID-19 pandemic. The newly announced incarnation of the tour had entirely new locations spanning 11 US cities accompanying the band's spring festival appearances and four performances in Mexico, their first since 2013.
Musical style, influences, and legacy
The direction of the band is dominated by lead guitarist, lead vocalist, keyboardist, bassist and principal songwriter Billy Corgan. Journalist Greg Kot wrote, "The music [of the Smashing Pumpkins] would not be what it is without his ambition and vision, and his famously fractured relationships with his family, friends, and bandmembers." Melissa Auf der Maur commented upon news of the group's reunion, "Everyone knows Billy doesn't need too many people to make a Pumpkins record, other than Jimmy [Chamberlin]—who he has on board." In a 2015 interview Corgan himself referred to the current iteration of the band "as sort of an open source collective" noting that "It's whoever feels right at the time." Many of Corgan's lyrics for the Pumpkins are cathartic expressions of emotion, full of personal musings and strong indictments of himself and those close to him. Music critics were not often fans of Corgan's angst-filled lyrics. Jim DeRogatis wrote in a 1993 Chicago Sun-Times article that Corgan's lyrics "too often sound like sophomoric poetry", although he viewed the lyrics of later albums Adore and Machina as an improvement. The band's songs have been described as "anguished, bruised reports from Billy Corgan's nightmare-land" by journalist William Shaw.
Smashing Pumpkins, unlike many alternative rock bands at the time, disavowed the influence of punk rock on their sound. Overall, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and electronica in later recordings.
The Smashing Pumpkins' distinctive sound up until Adore involved layering numerous guitar tracks onto a song during the recording process, a tactic that Mellon Collie and the Infinite Sadness coproducer Flood called the "Pumpkin guitar overdub army." Although there were a lot of overdubbed parts on Gish, Corgan began to really explore the possibilities of overdubbing with Siamese Dream; Corgan has stated that "Soma" alone contains up to 40 overdubbed guitar parts. While Corgan knew many of the songs would be difficult or impossible to replicate from their recorded versions in concert (in fact, some songs were drastically altered for live performance), he has explained the use of overdubbing by posing the question "When you are faced with making a permanent recorded representation of a song, why not endow it with the grandest possible vision?" This use of multilayered sounds was inspired by Corgan's love of 1970s popular artists & bands such as: David Bowie, Cheap Trick, Queen, Boston, and the Electric Light Orchestra, as well as shoegaze, a British alternative rock style of the late 1980s and early 1990s that relied on swirling layers of guitar noise for effect. Mellon Collie coproducer Alan Moulder was originally hired to mix Siamese Dream because Corgan was a fan of his work producing shoegaze bands such as My Bloody Valentine, Ride, and Slowdive.
Like many contemporary alternative bands, the Smashing Pumpkins utilized shifts in song dynamics, going from quiet to loud and vice versa. Hüsker Dü's seminal album Zen Arcade demonstrated to the band how they could place gentler material against more aggressive fare, and Corgan made such shifts in dynamics central to the pursuit of his grand musical ambitions. Corgan said he liked the idea of creating his own alternative universe through sound that essentially tells the listener, "Welcome to Pumpkin Land, this is what it sounds like on Planet Pumpkin." This emphasis on atmosphere carried through to Adore (described as "arcane night music" in prerelease promotion) and the Machina albums (concept records that tell the story of a fictional rock band).
The Pumpkins drew inspiration from a variety of other genres, some unfashionable during the 1990s among music critics. Corgan in particular was open about his appreciation of heavy metal, citing Dimebag Darrell of Pantera as his favorite contemporary guitarist. When one interviewer commented to Corgan and Iha that "Smashing Pumpkins is one of the groups that relegitimized heavy metal" and that they "were among the first alternative rockers to mention people like Ozzy and Black Sabbath with anything other than contempt". Corgan went on to rave about Black Sabbath's Master of Reality and Judas Priest's Unleashed in the East. The song "Zero", which reminded Iha of Judas Priest, is an example of what the band dubbed "cybermetal." Post-punk and gothic rock bands like Joy Division/New Order, Bauhaus, the Cure, and Depeche Mode were formative influences on the band, which covered such artists in concert and on record. Corgan also cited Siouxsie and the Banshees saying it was important to point back to bands that influenced them. Psychedelic rock was also referenced often in the band's early recordings; according to Corgan, "In typical Pumpkins fashion, no one at that point really liked loud guitars or psychedelic music so, of course, that's exactly what we had to do." Corgan felt that the band's guitars "are a mixture of heavy metal and 80s alternative rock. I think of Cure and Siouxsie and the Banshees". Corgan acknowledged that a chord he jokingly claimed as "the Pumpkin chord" (a G# octave chord at the eleventh fret of a guitar with the low E string played over it), used as the basis for "Cherub Rock", "Drown", and other songs, was in fact previously used by Jimi Hendrix. Other early influences cited by Corgan include Cream, the Stooges, and Blue Cheer.
Regarding the band's influence upon other groups, Greg Kot wrote in 2001, "Whereas Nirvana spawned countless mini-Nirvanas, the Pumpkins remain an island unto themselves." Still, some artists and bands have been influenced by the Pumpkins, such as Nelly Furtado, Marilyn Manson, Third Eye Blind, Mark Hoppus of Blink-182, Tegan and Sara, Fall Out Boy, Rivers Cuomo, Panic! at the Disco, Silversun Pickups, and My Chemical Romance. My Chemical Romance vocalist Gerard Way has said that they pattern their career upon the Pumpkins', including music videos. The members of fellow Chicago band Kill Hannah are friends with Corgan, and lead singer Mat Devine has compared his group to the Pumpkins.
The group has sold over 30 million albums worldwide as of October 2012, and sales in the United States alone reaching 19.75 million.
Music videos
The Smashing Pumpkins have been praised as "responsible for some of the most striking and memorable video clips" and for having "approached videos from a completely artistic standpoint rather than mere commercials to sell albums". MTV's 2001 anniversary special Testimony: 20 Years of Rock on MTV credited the Pumpkins, along with Nine Inch Nails, with treating music videos as an art form during the 1990s. Corgan has said, "We generally resisted the idea of what I call the classic MTV rock video, which is like lots of people jumping around and stuff." The band worked with video directors including Kevin Kerslake ("Cherub Rock"), Samuel Bayer ("Bullet with Butterfly Wings"), and, most frequently, the team of Jonathan Dayton and Valerie Faris ("Rocket", "1979", "Tonight, Tonight", "The End Is the Beginning Is the End", and "Perfect"). Corgan, who was frequently heavily involved in the conception of the videos, said of Dayton and Faris, "I know my [initial] versions are always darker, and they're always talking me into something a little kinder and gentler." Videos like "Today", "Rocket", and "1979" dealt with images taken from middle American culture, albeit exaggerated. The group's videos so often avoid the literal interpretation of the song lyrics that the video for "Thirty-Three", with images closely related to the words of the song, was created as an intentional stylistic departure.
The band was nominated for several MTV Video Music Awards during the 1990s. In 1996, the group won eight VMAs total for the "1979" and "Tonight, Tonight" videos, including the top award, Video of the Year, for "Tonight, Tonight". The video was also nominated for a Grammy at the 1997 ceremony. Of the "Tonight, Tonight" video, Corgan remarked, "I don't think we've ever had people react [like this]... it just seemed to touch a nerve."
Shortly after the band's 2000 breakup, the Greatest Hits Video Collection was released, collecting the band's music videos from 1991 to 2000 and including commentary from Corgan, Iha, Chamberlin, Wretzky, and various music video directors with outtakes, live performances, and the extended "Try, Try, Try" short film.
Band members
Current members
Billy Corgan – lead vocals, guitars, keyboards, bass guitar (1988–2000, 2006–present)
James Iha – guitars, bass guitar, vocals (1988–2000, 2018–present)
Jimmy Chamberlin – drums (1988–1996, 1998–2000, 2006–2009, 2015–present)
Jeff Schroeder – guitars, keyboards (2007–present)
Live members
Jack Bates – bass guitar (2015–present)
Katie Cole – keyboards, backing vocals (2015–present)
Former members
D'arcy Wretzky – bass guitar, backing vocals (1988–1999)
Melissa Auf der Maur – bass guitar (1999–2000)
Mike Byrne – drums, backing vocals, keyboards (2009–2014)
Nicole Fiorentino – bass guitar, backing vocals, keyboards (2010–2014)
Awards
American Music Awards
1997 – Best Alternative Artist
Grammy Awards
1997 – "Bullet with Butterfly Wings" – Best Hard Rock Performance
1998 – "The End Is the Beginning Is the End" – Best Hard Rock Performance
MTV Europe Music Awards
1996 – Best Rock
MTV Video Music Awards
1996 – "Tonight, Tonight" – Video of the Year, Breakthrough Video, Best Direction, Best Visual Effects, Best Art Direction, Best Cinematography
1996 – "1979" – Best Alternative Video
Discography
Studio albums
Gish (1991)
Siamese Dream (1993)
Mellon Collie and the Infinite Sadness (1995)
Adore (1998)
Machina/The Machines of God (2000)
Machina II/The Friends & Enemies of Modern Music (2000)
Zeitgeist (2007)
Oceania (2012)†
Monuments to an Elegy (2014)†
Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018)
Cyr (2020)
Notes
† Part of Teargarden by Kaleidyscope (2009–2014), an overarching project abandoned before completion.
See also
List of artists who reached number one on the U.S. alternative rock chart
Notes
References
Bibliography
Further reading
External links
1988 establishments in Illinois
Alternative rock groups from Chicago
Articles which contain graphical timelines
Caroline Records artists
Grammy Award winners
MTV Europe Music Award winners
Musical groups established in 1988
Musical groups disestablished in 2000
Musical groups reestablished in 2006
Musical quartets
American musical trios
Reprise Records artists
Sumerian Records artists
Virgin Records artists
Musical groups from Chicago
| true |
[
"White Witch is the title of the second studio album by the group Andrea True Connection. It was released in 1977. The album had two singles: and \"N.Y., You Got Me Dancing\" and \"What's Your Name, What's Your Number\". This was the last album released by the group and the vocalist Andrea True would release a new album as a solo release only in 1980.\n\nBackground and production\nAfter the success of her first album and the gold-certified single More, More, More, the band begun to prepeare for their second release. The album production included studio musicians with a new band assembled for the tour, the second line-up, which included future Kiss guitarist Bruce Kulick, it was also produce by the disco pioneers Michael Zager and Jerry Love.\n\nSingles\nThe first single of the album was \"N.Y., You Got Me Dancing\", it was released in 1977 and became True's second biggest hit, reaching No. 27 on Billboard's pop chart, and #4 on the U.S. club chart, it also peaked #89 in the Canadian RPM's chart. \"What's Your Name, What's Your Number\" was released as the second and last single of the album (and also of the group) in 1978 and reached #9 on the U.S. club chart, #34 in the UK and #56 on the Billboard Hot 100\n\nCritical reception\n\nThe album received mixed reviews from music critics. Alex Henderson from the Allmusic website gave the album two and a half stars out of five in a mixed review which he wrote that \"while White Witch isn't a bad album, it falls short of the excellence her first album, More, More, More.\" He also stated that there are a few gems in the album \"including the Michael Zager-produced \"What's Your Name, What's Your Number\" and the exuberant, Gregg Diamond-produced \"N.Y., You Got Me Dancing\"\" according to him they're both \"exercises in unapologetically campy fun.\" He concluded that the album \"LP is strictly for diehard disco collectors.\"\n\nTrack listing\nsource:\n\nReferences\n\n1977 albums\nAndrea True albums\nBuddah Records albums",
"\"The Juvenile\" is a song by Swedish pop band Ace of Base.\n\nIt was released as the second single from their album Da Capo in Germany released in December 2002. It was originally written in 1995, as the proposed theme song to the 1995 James Bond film GoldenEye, but Arista Records pulled the band out of the project. The song was then re-written as The Juvenile and still released as a single.\n\nThe chorus of the song is very similar to the original version, just with a different line \"the juvenile\" instead of \"the goldeneye\".\n\nCharts\n\nTrack listing\nCD single (2002) 065 858-2\n\"The Juvenile\" - 3:44\n\"What's the Name of the Game\" - 3:02\n\"Don't Stop\" - 3:48\n\"Hey Darling\" [German Album Version] - 3:16\n\nReferences\n\nAce of Base songs\n2002 singles\n2002 songs\nSongs written by Jonas Berggren\nMega Records singles"
] |
[
"The Smashing Pumpkins",
"Mainstream breakout: 1992-1994",
"How did the smashing pumpkins Breakout in 1992?",
"Amid this environment of intense internal pressure for the band to break through to widespread popularity,",
"did they publish any albums during this time?",
"late 1992 to begin work on their second album, with Butch Vig returning as producer.",
"what as the name of their second album?",
"The recording environment for Siamese Dream was quickly marred by discord within the band."
] |
C_27a494717f8d47cfa84878b93037e00f_0
|
Did they end up producing this album?
| 4 |
Did The Smashing Pumpkins end up producing second album?
|
The Smashing Pumpkins
|
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'." Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000. Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Husker Du frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world". In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album. CANNOTANSWER
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In all, it took over four months to complete the record, with the budget exceeding $250,000.
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The Smashing Pumpkins (or Smashing Pumpkins) are an American alternative rock band from Chicago. Formed in 1988 by frontman Billy Corgan (lead vocals, guitar), D'arcy Wretzky (bass), James Iha (guitar), and Jimmy Chamberlin (drums), the band has undergone many line-up changes. The current lineup features Corgan, Chamberlin, Iha and guitarist Jeff Schroeder.
Disavowing the punk rock roots of many of their alt-rock contemporaries, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and, in later recordings, electronica. Corgan is the group's primary songwriter; his musical ambitions and cathartic lyrics have shaped the band's albums and songs, which have been described as "anguished, bruised reports from Billy Corgan's nightmare-land".
The Smashing Pumpkins broke into the musical mainstream with their second album, 1993's Siamese Dream. The group built its audience with extensive touring and their 1995 follow-up, the double album Mellon Collie and the Infinite Sadness, debuted at number one on the Billboard 200 album chart. With 30 million albums sold worldwide, the Smashing Pumpkins were one of the most commercially successful and critically acclaimed bands of the 1990s. However, internal fighting, drug use, and diminishing record sales led to a 2000 break-up.
In 2006, Corgan and Chamberlin reconvened to record a new Smashing Pumpkins album, Zeitgeist. After touring throughout 2007 and 2008 with a lineup including new guitarist Jeff Schroeder, Chamberlin left the band in early 2009. Later that year, Corgan began a new recording series with a rotating lineup of musicians entitled Teargarden by Kaleidyscope, which encompassed the release of stand-alone singles, compilation EP releases, and two full albums that also fell under the project's scope—Oceania in 2012 and Monuments to an Elegy in 2014. Chamberlin and Iha officially rejoined the band in February 2018. The reunited lineup released the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. in November 2018 and Cyr in November 2020.
History
Early years: 1988–1991
After the breakup of his gothic rock band The Marked, singer and guitarist Billy Corgan left St. Petersburg, Florida, to return to his native city of Chicago, where he took a job in a record store and formed the idea of a new band to be called the Smashing Pumpkins. While working there, he met guitarist James Iha. Adorning themselves with paisley and other psychedelic trappings, the two began writing songs together (with the aid of a drum machine) that were heavily influenced by the Cure and New Order. The duo performed live for the first time on July 9, 1988 at the Polish bar Chicago 21. This performance included only Corgan on bass and Iha on guitar with a drum machine. Shortly thereafter, Corgan met D'arcy Wretzky after a show by the Dan Reed Network where they argued the merits of the band. After finding out Wretzky played bass guitar, Corgan recruited her into the lineup, and the trio played a show at the Avalon Nightclub. After this show, Cabaret Metro owner Joe Shanahan agreed to book the band on the condition that they replace the drum
machine with a live drummer.
Jazz drummer Jimmy Chamberlin was recommended by a friend of Corgan's. Chamberlin knew little of alternative music and immediately changed the sound of the nascent band. As Corgan recalled of the period, "We were completely into the sad-rock, Cure kind of thing. It took about two or three practices before I realized that the power in his playing was something that enabled us to rock harder than we could ever have imagined." On October 5, 1988, the complete band took the stage for the first time at the Cabaret Metro.
In 1989, the Smashing Pumpkins made their first appearance on record with the compilation album Light Into Dark, which featured several Chicago alternative bands. The group released its first single, "I Am One", in 1990 on local Chicago label Limited Potential. The single sold out and they released a follow-up, "Tristessa", on Sub Pop, after which they signed to Caroline Records. The band recorded their 1991 debut studio album Gish with producer Butch Vig at his Smart Studios in Madison, Wisconsin for $20,000. In order to gain the consistency he desired, Corgan often played all instruments excluding drums, which created tension in the band. The music fused heavy metal guitars, psychedelia, and dream pop, garnering them comparisons to Jane's Addiction. Gish became a minor success, with the single "Rhinoceros" receiving some airplay on modern rock radio. After releasing the Lull EP in October 1991 on Caroline Records, the band formally signed with Virgin Records, which was affiliated with Caroline. The band supported the album with a tour that included opening for bands such as the Red Hot Chili Peppers, Jane's Addiction, and Guns N' Roses. During the tour, Iha and Wretzky went through a messy breakup, Chamberlin became addicted to narcotics and alcohol, and Corgan entered a deep depression, writing some songs for the upcoming album in the parking garage where he lived at the time.
Mainstream breakout and Siamese Dream: 1992–1994
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'."
Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000.
Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Hüsker Dü frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world".
In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album.
Mellon Collie and the Infinite Sadness: 1995–1997
During 1995, Corgan wrote about 56 songs, following which the band went into the studio with producers Flood and Alan Moulder to work on what Corgan described as "The Wall for Generation X", and which became Mellon Collie and the Infinite Sadness, a double album of twenty-eight songs, lasting over two hours (the vinyl version of the album contained three records, two extra songs, and an alternate track listing). The songs were intended to hang together conceptually as a symbol of the cycle of life and death. Praised by Time as "the group's most ambitious and accomplished work yet", Mellon Collie debuted at number one on the Billboard 200 in October 1995. Even more successful than Siamese Dream, it was certified ten times platinum in the United States and became the best-selling double album of the decade. It also garnered seven 1997 Grammy Award nominations, including Album of the Year. The band won only the Best Hard Rock Performance award, for the album's lead single "Bullet with Butterfly Wings". The album spawned five singles—"Bullet with Butterfly Wings", "1979", "Zero", "Tonight, Tonight" which Corgan stated was inspired by the Cheap Trick song "I'll Be with You Tonight", and "Thirty-Three"—of which the first three were certified gold and all but "Zero" entered the Top 40. Many of the songs that did not make it onto Mellon Collie were released as B-sides to the singles, and were later compiled in The Aeroplane Flies High box set. The set was originally limited to 200,000 copies, but more were produced to meet demand.
In 1996 the Pumpkins undertook an extended world tour in support of Mellon Collie. Corgan's look during this period—a shaved head, a long sleeve black shirt with the word "Zero" printed on it, and silver pants—became iconic. That year, the band also made a guest appearance in an episode of The Simpsons, "Homerpalooza". With considerable video rotation on MTV, major industry awards, and "Zero" shirts selling in many malls, the Pumpkins were considered one of the most popular bands of the time.
In May, the Smashing Pumpkins played a gig at the Point Theatre in Dublin, Ireland. Despite the band's repeated requests for moshing to stop, a seventeen-year-old fan named Bernadette O'Brien was crushed to death. The concert ended early and the following night's performance in Belfast was cancelled out of respect for her. However, while Corgan maintained that moshing's "time [had] come and gone", the band would continue to request open-floor concerts throughout the rest of the tour.
The band suffered a personal tragedy on the night of July 11, 1996, when touring keyboardist Jonathan Melvoin and Chamberlin overdosed on heroin in a hotel room in New York City. Melvoin died, and Chamberlin was arrested for drug possession. A few days later, the band announced that Chamberlin had been fired as a result of the incident. The Pumpkins chose to finish the tour, and hired drummer Matt Walker and keyboardist Dennis Flemion. Corgan later said the decision to continue touring was the worst decision the band had ever made, damaging both their music and their reputation. Chamberlin admitted in a 1994 Rolling Stone cover story that in the past he'd "gotten high in every city in this country and probably half the cities in Europe." But in recent years, he had reportedly been clean. On July 17, the Pumpkins issued a statement in which they said, "For nine years we have battled with Jimmy's struggles with the insidious disease of drug and alcohol addiction. It has nearly destroyed everything we are and stand for. … We wish [him] the best we have to offer". Meanwhile, the band had given interviews since the release of Mellon Collie stating that it would be the last conventional Pumpkins record, and that rock was becoming stale. James Iha said at the end of 1996, "The future is in electronic music. It really seems boring just to play rock music."
Adore, Machina, and breakup: 1998–2000
After the release of Mellon Collie, the Pumpkins contributed many songs to various compilations. Released in early 1997, the song "Eye", which appeared on the soundtrack to David Lynch's Lost Highway, relied almost exclusively on electronic instruments and signaled a drastic shift from the Pumpkins' previous musical styles. At the time, Corgan stated his "idea [was] to reconfigure the focus and get away from the classic guitars-bass-drum rock format." Later that year, the group contributed "The End Is the Beginning Is the End" to the soundtrack for the film Batman & Robin. With Matt Walker on drums, the song featured a heavy sound similar to "Bullet with Butterfly Wings" while still having strong electronic influences. The song later won the 1998 Grammy for Best Hard Rock Performance. Though Corgan announced that the song represented the sound people could expect from the band in the future, the band's next album would feature few guitar-driven songs.
Recorded following the death of Corgan's mother and his divorce, 1998's Adore represented a significant change of style from the Pumpkins' previous guitar-based rock, veering into electronica. The record, cut with assistance from drum machines and studio drummers including Matt Walker, was infused with a darker aesthetic than much of the band's earlier work. The group also modified its public image, shedding its alternative rock look for a more subdued appearance. Although Adore received favorable reviews and was nominated for Best Alternative Performance at the Grammy Awards, the album had only sold about 830,000 copies in the United States by the end of the year. The album nonetheless debuted at number 2 on the Billboard 200 and sold three times as many copies overseas. The band began a seventeen-date, fifteen-city charity North American tour in support of Adore. At each stop on the tour, the band donated 100 percent of tickets sales to a local charity organization. The tour's expenses were entirely funded out of the band's own pockets. All told, the band donated over $2.8 million to charity as a result of the tour. On October 31, 1998 during Halloween, the band opened for Kiss at Dodger Stadium in Los Angeles, dressed in costume as The Beatles.
In 1999 the band surprised fans by reuniting with a rehabilitated Jimmy Chamberlin for a brief tour dubbed "The Arising", which showcased both new and classic material. The lineup was short-lived, however, as the band announced the departure of Wretzky in September during work on the album Machina/The Machines of God. Former Hole bassist Melissa Auf der Maur was recruited for the "Sacred and Profane" tour in support of the album and appeared in the videos accompanying its release. Released in 2000, Machina was initially promoted as the Pumpkins' return to a more traditional rock sound, after the more gothic, electronic-sounding Adore. The album debuted at number three on the Billboard charts, but quickly disappeared and as of 2007 had only been certified gold. Music journalist Jim DeRogatis, who described the album as "one of the strongest of their career", noted that the stalled sales for Machina in comparison to teen pop ascendant at the time "seems like concrete proof that a new wave of young pop fans has turned a deaf ear toward alternative rock."
On May 23, 2000, in a live radio interview on KROQ-FM (Los Angeles), Billy Corgan announced the band's decision to break up at the end of that year following additional touring and recording. The group's final album before the break-up, Machina II/The Friends & Enemies of Modern Music, was released in September 2000 in a limited pressing on vinyl with permission and instructions for free redistribution on the Internet by fans. Only twenty-five copies were cut, each of which was hand numbered and given to friends of the band along with band members themselves. The album, released under the Constantinople Records label created by Corgan, consisted of one double LP and three ten-inch EPs. Originally, the band asked Virgin to offer Machina II as a free download to anyone who bought Machina. When the record label declined, Corgan opted to release the material independently.
On December 2, 2000, Smashing Pumpkins played a farewell concert at The Metro, the same Chicago club where their career had effectively started twelve years earlier. The four-and-a-half-hour-long show featured 35 songs spanning the group's career, and attendees were given a recording of the band's first concert at The Metro, Live at Cabaret Metro 10-5-88. The single "Untitled" was released commercially to coincide with the farewell show.
Post-breakup: 2001–2004
In 2001 the compilation Rotten Apples was released. The double-disc version of the album, released as a limited edition, included a collection of B-sides and rarities called Judas O. The Greatest Hits Video Collection DVD was also released at the same time. This was a compilation of all of the Pumpkins promo videos from Gish to Machina along with unreleased material. Vieuphoria was released on DVD in 2002, as was the soundtrack album Earphoria, previously released solely to radio stations in 1994.
Billy Corgan and Jimmy Chamberlin reunited in 2001 as members of Corgan's next project, the short-lived supergroup Zwan. The group's only album, Mary Star of the Sea, was released in 2003. After cancelling a few festival appearances, Corgan announced the demise of the band in 2003. During 2001 Corgan also toured as part of New Order and provided vocals on their comeback album Get Ready. In October 2004 Corgan released his first book, Blinking with Fists, a collection of poetry. In June 2005, he released a solo album, TheFutureEmbrace, which he described as "(picking) up the thread of the as-yet-unfinished work of the Smashing Pumpkins". Despite this, it was greeted with generally mixed reviews and lackluster sales. Only one single, "Walking Shade", was released in support of the album.
In addition to drumming with Zwan, Jimmy Chamberlin also formed an alternative rock/jazz fusion project band called Jimmy Chamberlin Complex. The group released an album in 2005 titled Life Begins Again. Corgan provided guest vocals on the track "Lokicat". James Iha served as a guitarist in A Perfect Circle, appearing on their Thirteenth Step club tour and 2004 album, eMOTIVe. He has also been involved with other acts such as Chino Moreno's Team Sleep and Vanessa and the O's. He continues to work with Scratchie Records, his own record label, as well. D'arcy Wretzky has, aside from one radio interview in 2009, not made any public statements or appearances nor given any interviews since leaving the band in 1999. On January 25, 2000, she was arrested after she allegedly purchased three bags of cocaine, but after successfully completing a court-ordered drug education program, the charges were dropped.
Corgan insisted during this period that the band would not reform, although when Zwan broke up he announced, "I think my heart was in Smashing Pumpkins […] I think it was naive of me to think that I could find something that would mean as much to me." Corgan said in 2005, "I never wanted to leave the Smashing Pumpkins. That was never the plan." On February 17, 2004, Corgan posted a message on his personal blog calling Wretzky a "mean-spirited drug addict" and blaming Iha for the breakup of the Smashing Pumpkins. On June 3, 2004, he added that "the depth of my hurt [from Iha] is only matched with the depth of my gratitude". Iha responded to Corgan's claims in 2005, saying, "No, I didn't break up the band. The only person who could have done that is Billy."
Reformation and Zeitgeist: 2005–2008
On June 21, 2005, the day of the release of his first solo album TheFutureEmbrace, Corgan took out full-page advertisements in the Chicago Tribune and Chicago Sun-Times to announce that he planned to reunite the band. "For a year now", Corgan wrote, "I have walked around with a secret, a secret I chose to keep. But now I want you to be among the first to know that I have made plans to renew and revive the Smashing Pumpkins. I want my band back, and my songs, and my dreams". Corgan and Chamberlin were verified as participants in the reunion, but there was question as to whether other former members of the band would participate.
In April 2007 Iha and Auf der Maur separately confirmed that they were not taking part in the reunion. Chamberlin would later state that Iha and Wretzky "didn't want to be a part of" the reunion. The Smashing Pumpkins performed live for the first time since 2000 on May 22, 2007, in Paris, France. There, the band unveiled new touring members: guitarist Jeff Schroeder, bassist Ginger Reyes, and keyboardist Lisa Harriton. That same month, "Tarantula" was released as the first single from the band's forthcoming album. On July 7, the band performed at the Live Earth concert in New Jersey.
The band's new album, Zeitgeist, was released that same month on Reprise Records, entering the Billboard charts at number two and selling 145,000 copies in its first week. Zeitgeist received mixed reviews, with much of the criticism targeted at the absence of half of the original lineup. The album divided the Pumpkins' fanbase. Corgan would later admit, "I know a lot of our fans are puzzled by Zeitgeist. I think they wanted this massive, grandiose work, but you don't just roll out of bed after seven years without a functioning band and go back to doing that".
Corgan and Chamberlin continued to record as a duo, releasing the four-song EP American Gothic in January 2008 and the singles "Superchrist" and "G.L.O.W." later that year. That November, the group released the DVD If All Goes Wrong, which chronicled the group's 2007 concert residences in Asheville, North Carolina and San Francisco, California. In late 2008, the band commenced on a controversy-riddled 20th Anniversary Tour. Around this time, Corgan said the group will make no more full-length records in order to focus exclusively on singles, explaining, "The listening patterns have changed, so why are we killing ourselves to do albums, to create balance, and do the arty track to set up the single? It's done."
Teargarden and Oceania: 2009–2013
In March 2009 Corgan announced on the band's website that Chamberlin had left the group and would be replaced. Chamberlin subsequently stated that his departure from the band is "a positive move forward for me. I can no longer commit all of my energy into something that I don't fully possess." Chamberlin stressed that the split was amicable, commenting, "I am glad [Corgan] has chosen to continue under the name. It is his right." Chamberlin soon formed the band Skysaw, which has released an album and toured in support of Minus the Bear. In July 2009 Billy Corgan formed a new group called Spirits in the Sky, initially as a tribute band to Sky Saxon of the Seeds, who had recently died. The following month Corgan confirmed on the band's website that 19-year-old Spirits in the Sky drummer Mike Byrne had replaced Chamberlin and that the pair was working on new Pumpkins recordings.
The group announced plans to release a 44-track concept album, Teargarden by Kaleidyscope, for free over the Internet one track at a time. The first track, "A Song for a Son", was released in December 2009 to moderate press acclaim. In March 2010 Ginger Reyes officially left the band, prompting an open call for auditions for a new bassist. In May, Nicole Fiorentino announced she had joined the band as bass player, and would be working on Teargarden by Kaleidyscope. The new lineup went on a world tour through to the end of 2010. One of the first shows with the new lineup was a concert to benefit Matthew Leone, bassist for the rock band Madina Lake, at the Metro on July 27, 2010. In late 2010 all four members contributed to the sessions for the third volume of Teargarden.
On April 26, 2011, Corgan announced that the Smashing Pumpkins would be releasing a new album titled Oceania, which he labeled as "an album within an album" in regards to the Teargarden by Kaleidyscope project, in the fall. As with the previous recording sessions, all four band members contributed to the project. Also, the entire album catalog was to be remastered and reissued with bonus tracks, starting with Gish and Siamese Dream in November 2011. The pre-Gish demos, Pisces Iscariot, and Mellon Collie and the Infinite Sadness were released in 2012, with The Aeroplane Flies High released the following year. Adore was released in 2014, and Machina/The Machines of God and the yet commercially unreleased Machina II/Friends and Enemies of Modern Music are expected to be combined, remixed, and released in the same year. The band did a thirteen-city US tour in October 2011 followed by a European tour in November and December.
Oceania was released on June 19, 2012, and received generally positive reviews. The album debuted at No. 4 on the Billboard 200 and at No. 1 on the Billboard Independent. The album spawned two singles, "The Celestials" and "Panopticon". The band proceeded to tour in support of the album, including a US tour involving playing the album in its entirety. By September 2012, Corgan stated that the band had already begun work on their next album. However, despite this, the band concentrated on touring, playing at Glastonbury Festival, Dour Festival and the Barclays Center, where they recorded Oceania: Live in NYC, which was released on September 24, 2013.
Monuments to an Elegy: 2014–2016
On March 25, 2014, Corgan announced he had signed a new record deal with BMG, for two new albums, titled Monuments to an Elegy and Day for Night, respectively. In June, it was revealed that Mike Byrne was no longer in the band, to be replaced by Tommy Lee of Mötley Crüe on the new album, and Fiorentino would not be recording on the album either. Monuments to an Elegy was released on December 5, 2014, to generally positive reviews. The band toured in support of the album starting on November 26, with Rage Against the Machine's Brad Wilk filling in on drums and the Killers' Mark Stoermer filling in on bass. The follow-up proposed album Day For Night was cited for delayed late 2015 or early 2016 release.
Later in 2015 Corgan announced that the band would embark on a co-headlining tour of North America with Marilyn Manson, "The End Times Tour", across July and August 2015. Prior to the co-headlining dates, the band performed a series of acoustic shows with drum machines and tapes for percussion. When the time came for the co-headlining tour, plans for a drummer fell through and Corgan recruited Chamberlin to reunite for the shows. On February 1, 2016, it was announced that the band would continue their In Plainsong acoustic tour with Jimmy Chamberlin on drums and were planning to head "straight to the studio after the dates to record a brand new album inspired by the sounds explored in the new acoustic setting". On February 25, 2016, Corgan posted a video from a Los Angeles studio on the band's Facebook account, giving an update on the writing process for the new songs for the upcoming album to be released after the In Plainsong tour.
The tour began in Portland, Oregon, on March 22, 2016.
Iha and Chamberlin's return; Shiny and Oh So Bright and Cyr: 2018–present
On his birthday on March 26, 2016, original guitarist James Iha joined Billy Corgan, Jimmy Chamberlin, and Jeff Schroeder on stage unannounced at the Ace Hotel in downtown Los Angeles. He performed a few songs, including "Mayonaise", "Soma" and "Whir" marking his first appearance with the Smashing Pumpkins in 16 years. Iha also played at the second of the two Smashing Pumpkins shows at the Ace Hotel the following day, which was Easter Sunday. Iha joined the Pumpkins for a third time at their concert of April 14 at the Civic Opera House in Chicago. In July, Corgan began hinting of the possibility of reuniting the band original lineup, of himself, Iha, Wretzky, and Chamberlin, and in August, he stated he had begun reaching out to the original lineup about the feasibility of a reunion, including speaking to Wretzky for the first time in sixteen years. Despite the comments, Corgan would spend much of 2017 working on solo material – recording and releasing the solo album Ogilala and beginning work on another solo album for 2018. In June 2017 Chamberlin also mentioned the possibility of a reunion tour in 2018. In January 2018 Corgan shared a photo of himself, Iha, and Chamberlin together in recording studio. In February 2018 Corgan announced that he was working with music producer Rick Rubin on a future Smashing Pumpkins album, that there were currently 26 songs he was actively working on, and that "the guitar feels once again like the preferred weapon of choice." Soon afterwards, Corgan shared a photo of sound equipment with Iha's name on a label, as well as announcing recording was finished on the album.
On February 15, 2018, the band officially announced that founding members Iha and Chamberlin were back in the band. They embarked on the Shiny And Oh So Bright Tour starting in July, with a focus on performing material from their first five studio albums. and sold over 350,000 tickets and sold out arenas including The Forum, United Center, and Madison Square Garden. Original bassist D'arcy Wretzky claimed she had been offered a contract to rejoin the band but Corgan rescinded the offer soon after. Corgan released a statement denying the claims, stating "Ms. Wretzky has repeatedly been invited out to play with the group, participate in demo sessions, or at the very least, meet face-to-face, and in each and every instance she always deferred". Jack Bates (son of Joy Division bassist Peter Hook) played bass on the tour. Bates previously toured with the Smashing Pumpkins in 2015. Multi-instrumentalist Katie Cole rejoined the band for the tour as well, singing backup vocals and playing keyboards and guitar.
In March 2018, Corgan mentioned the band planned to release two EPs in 2018, with the first tentatively planned for May. On June 8, 2018, the first single from the set of music, "Solara", was released. On August 2, 2018, the band celebrated their 30th anniversary by performing in Holmdel, New Jersey. with several notable special guests including Courtney Love, Chino Moreno, Davey Havok, Peter Hook, Mark McGrath, and Dave Keuning and Mark Stoermer of The Killers. In September 2018, they announced the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun., released via Napalm Records on November 16, 2018, which debuted at number 54 on the Billboard 200 chart.
After touring through much of 2019, Corgan noted in January 2020 that the band was currently working on 21 songs for a future album release. On August 28, 2020, the band released the single and video for "Cyr", along with a second track titled "The Colour of Love" from their album Cyr, which was released through their new record label Sumerian Records on November 27, 2020. It serves as the second part of the Shiny and Oh So Bright series. On September 25, 2020, the band released another single from Cyr that included the songs "Confessions of a Dopamine Addict" and "Wrath". On October 9, 2020, the band released a third single for Cyr that featured the tracks "Anno Satana" and "Birch Grove". On October 29, the band released "Ramona" and "Wyttch" as the fourth pair of singles. On November 20, 2020, the songs "Purple Blood" and "Dulcet in E" were released as the fifth and final single for Cyr. The following week, on November 27, 2020, the band released Cyr. Despite never getting to properly tour Cyr, the band did play four songs from the album at their headlining shows at Riot Fest and Sea.Hear.Now Festival in September 2021.
In late 2020, Corgan announced that the band would begin work on another double album for release in 2021, although the year passed without the album releasing. The double album is to serve as a sequel to the overarching story of Mellon Collie and the Infinite Sadness and Machina: The Machines of God. On February 22, the band announced on social media the Rock Invasion 2 Tour, which had previously been set to take place in spring 2020, but had been postponed to fall 2020 and subsequently canceled due to the COVID-19 pandemic. The newly announced incarnation of the tour had entirely new locations spanning 11 US cities accompanying the band's spring festival appearances and four performances in Mexico, their first since 2013.
Musical style, influences, and legacy
The direction of the band is dominated by lead guitarist, lead vocalist, keyboardist, bassist and principal songwriter Billy Corgan. Journalist Greg Kot wrote, "The music [of the Smashing Pumpkins] would not be what it is without his ambition and vision, and his famously fractured relationships with his family, friends, and bandmembers." Melissa Auf der Maur commented upon news of the group's reunion, "Everyone knows Billy doesn't need too many people to make a Pumpkins record, other than Jimmy [Chamberlin]—who he has on board." In a 2015 interview Corgan himself referred to the current iteration of the band "as sort of an open source collective" noting that "It's whoever feels right at the time." Many of Corgan's lyrics for the Pumpkins are cathartic expressions of emotion, full of personal musings and strong indictments of himself and those close to him. Music critics were not often fans of Corgan's angst-filled lyrics. Jim DeRogatis wrote in a 1993 Chicago Sun-Times article that Corgan's lyrics "too often sound like sophomoric poetry", although he viewed the lyrics of later albums Adore and Machina as an improvement. The band's songs have been described as "anguished, bruised reports from Billy Corgan's nightmare-land" by journalist William Shaw.
Smashing Pumpkins, unlike many alternative rock bands at the time, disavowed the influence of punk rock on their sound. Overall, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and electronica in later recordings.
The Smashing Pumpkins' distinctive sound up until Adore involved layering numerous guitar tracks onto a song during the recording process, a tactic that Mellon Collie and the Infinite Sadness coproducer Flood called the "Pumpkin guitar overdub army." Although there were a lot of overdubbed parts on Gish, Corgan began to really explore the possibilities of overdubbing with Siamese Dream; Corgan has stated that "Soma" alone contains up to 40 overdubbed guitar parts. While Corgan knew many of the songs would be difficult or impossible to replicate from their recorded versions in concert (in fact, some songs were drastically altered for live performance), he has explained the use of overdubbing by posing the question "When you are faced with making a permanent recorded representation of a song, why not endow it with the grandest possible vision?" This use of multilayered sounds was inspired by Corgan's love of 1970s popular artists & bands such as: David Bowie, Cheap Trick, Queen, Boston, and the Electric Light Orchestra, as well as shoegaze, a British alternative rock style of the late 1980s and early 1990s that relied on swirling layers of guitar noise for effect. Mellon Collie coproducer Alan Moulder was originally hired to mix Siamese Dream because Corgan was a fan of his work producing shoegaze bands such as My Bloody Valentine, Ride, and Slowdive.
Like many contemporary alternative bands, the Smashing Pumpkins utilized shifts in song dynamics, going from quiet to loud and vice versa. Hüsker Dü's seminal album Zen Arcade demonstrated to the band how they could place gentler material against more aggressive fare, and Corgan made such shifts in dynamics central to the pursuit of his grand musical ambitions. Corgan said he liked the idea of creating his own alternative universe through sound that essentially tells the listener, "Welcome to Pumpkin Land, this is what it sounds like on Planet Pumpkin." This emphasis on atmosphere carried through to Adore (described as "arcane night music" in prerelease promotion) and the Machina albums (concept records that tell the story of a fictional rock band).
The Pumpkins drew inspiration from a variety of other genres, some unfashionable during the 1990s among music critics. Corgan in particular was open about his appreciation of heavy metal, citing Dimebag Darrell of Pantera as his favorite contemporary guitarist. When one interviewer commented to Corgan and Iha that "Smashing Pumpkins is one of the groups that relegitimized heavy metal" and that they "were among the first alternative rockers to mention people like Ozzy and Black Sabbath with anything other than contempt". Corgan went on to rave about Black Sabbath's Master of Reality and Judas Priest's Unleashed in the East. The song "Zero", which reminded Iha of Judas Priest, is an example of what the band dubbed "cybermetal." Post-punk and gothic rock bands like Joy Division/New Order, Bauhaus, the Cure, and Depeche Mode were formative influences on the band, which covered such artists in concert and on record. Corgan also cited Siouxsie and the Banshees saying it was important to point back to bands that influenced them. Psychedelic rock was also referenced often in the band's early recordings; according to Corgan, "In typical Pumpkins fashion, no one at that point really liked loud guitars or psychedelic music so, of course, that's exactly what we had to do." Corgan felt that the band's guitars "are a mixture of heavy metal and 80s alternative rock. I think of Cure and Siouxsie and the Banshees". Corgan acknowledged that a chord he jokingly claimed as "the Pumpkin chord" (a G# octave chord at the eleventh fret of a guitar with the low E string played over it), used as the basis for "Cherub Rock", "Drown", and other songs, was in fact previously used by Jimi Hendrix. Other early influences cited by Corgan include Cream, the Stooges, and Blue Cheer.
Regarding the band's influence upon other groups, Greg Kot wrote in 2001, "Whereas Nirvana spawned countless mini-Nirvanas, the Pumpkins remain an island unto themselves." Still, some artists and bands have been influenced by the Pumpkins, such as Nelly Furtado, Marilyn Manson, Third Eye Blind, Mark Hoppus of Blink-182, Tegan and Sara, Fall Out Boy, Rivers Cuomo, Panic! at the Disco, Silversun Pickups, and My Chemical Romance. My Chemical Romance vocalist Gerard Way has said that they pattern their career upon the Pumpkins', including music videos. The members of fellow Chicago band Kill Hannah are friends with Corgan, and lead singer Mat Devine has compared his group to the Pumpkins.
The group has sold over 30 million albums worldwide as of October 2012, and sales in the United States alone reaching 19.75 million.
Music videos
The Smashing Pumpkins have been praised as "responsible for some of the most striking and memorable video clips" and for having "approached videos from a completely artistic standpoint rather than mere commercials to sell albums". MTV's 2001 anniversary special Testimony: 20 Years of Rock on MTV credited the Pumpkins, along with Nine Inch Nails, with treating music videos as an art form during the 1990s. Corgan has said, "We generally resisted the idea of what I call the classic MTV rock video, which is like lots of people jumping around and stuff." The band worked with video directors including Kevin Kerslake ("Cherub Rock"), Samuel Bayer ("Bullet with Butterfly Wings"), and, most frequently, the team of Jonathan Dayton and Valerie Faris ("Rocket", "1979", "Tonight, Tonight", "The End Is the Beginning Is the End", and "Perfect"). Corgan, who was frequently heavily involved in the conception of the videos, said of Dayton and Faris, "I know my [initial] versions are always darker, and they're always talking me into something a little kinder and gentler." Videos like "Today", "Rocket", and "1979" dealt with images taken from middle American culture, albeit exaggerated. The group's videos so often avoid the literal interpretation of the song lyrics that the video for "Thirty-Three", with images closely related to the words of the song, was created as an intentional stylistic departure.
The band was nominated for several MTV Video Music Awards during the 1990s. In 1996, the group won eight VMAs total for the "1979" and "Tonight, Tonight" videos, including the top award, Video of the Year, for "Tonight, Tonight". The video was also nominated for a Grammy at the 1997 ceremony. Of the "Tonight, Tonight" video, Corgan remarked, "I don't think we've ever had people react [like this]... it just seemed to touch a nerve."
Shortly after the band's 2000 breakup, the Greatest Hits Video Collection was released, collecting the band's music videos from 1991 to 2000 and including commentary from Corgan, Iha, Chamberlin, Wretzky, and various music video directors with outtakes, live performances, and the extended "Try, Try, Try" short film.
Band members
Current members
Billy Corgan – lead vocals, guitars, keyboards, bass guitar (1988–2000, 2006–present)
James Iha – guitars, bass guitar, vocals (1988–2000, 2018–present)
Jimmy Chamberlin – drums (1988–1996, 1998–2000, 2006–2009, 2015–present)
Jeff Schroeder – guitars, keyboards (2007–present)
Live members
Jack Bates – bass guitar (2015–present)
Katie Cole – keyboards, backing vocals (2015–present)
Former members
D'arcy Wretzky – bass guitar, backing vocals (1988–1999)
Melissa Auf der Maur – bass guitar (1999–2000)
Mike Byrne – drums, backing vocals, keyboards (2009–2014)
Nicole Fiorentino – bass guitar, backing vocals, keyboards (2010–2014)
Awards
American Music Awards
1997 – Best Alternative Artist
Grammy Awards
1997 – "Bullet with Butterfly Wings" – Best Hard Rock Performance
1998 – "The End Is the Beginning Is the End" – Best Hard Rock Performance
MTV Europe Music Awards
1996 – Best Rock
MTV Video Music Awards
1996 – "Tonight, Tonight" – Video of the Year, Breakthrough Video, Best Direction, Best Visual Effects, Best Art Direction, Best Cinematography
1996 – "1979" – Best Alternative Video
Discography
Studio albums
Gish (1991)
Siamese Dream (1993)
Mellon Collie and the Infinite Sadness (1995)
Adore (1998)
Machina/The Machines of God (2000)
Machina II/The Friends & Enemies of Modern Music (2000)
Zeitgeist (2007)
Oceania (2012)†
Monuments to an Elegy (2014)†
Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018)
Cyr (2020)
Notes
† Part of Teargarden by Kaleidyscope (2009–2014), an overarching project abandoned before completion.
See also
List of artists who reached number one on the U.S. alternative rock chart
Notes
References
Bibliography
Further reading
External links
1988 establishments in Illinois
Alternative rock groups from Chicago
Articles which contain graphical timelines
Caroline Records artists
Grammy Award winners
MTV Europe Music Award winners
Musical groups established in 1988
Musical groups disestablished in 2000
Musical groups reestablished in 2006
Musical quartets
American musical trios
Reprise Records artists
Sumerian Records artists
Virgin Records artists
Musical groups from Chicago
| true |
[
"Sindustries is the third album by Swedish melodic death metal band Gardenian. For a time, this was considered Gardenian's last release, as the band broke up in 2004. However, they reunited in 2012 and are working towards a new album. The band's past album, Soulburner, featured Eric Hawk, who did clean vocals, but producer Peter Tägtgren believed that this album did not need a guest clean vocalist, and encouraged Jim Kjell to the clean vocals this time as he had never done so. This is the first and last release with Kriss Albertsson performing. This album also has the band's longest song, \"Selfproclaimed Messiah\".\n\nTrack listing\n \"Selfproclaimed Messiah\" - 8:06\n \"Doom & Gloom\" - 6:34\n \"Long Snap to Zero\" - 6:07\n \"Courageous\" - 4:42\n \"Heartless\" - 6:34\n \"The Suffering\" - 6:21\n \"Scissorfight\" - 5:35\n \"Sonic Death Monkey\" - 5:54\n \"Sindustries\" - 6:51\n \"Funeral\" - 6:20\n\nCredits\nGardenian \n Jim Kjell - vocals, guitars\n Niklas Engelin - guitars\n Kriss Albertsson - bass\n Thim Blom - drums\n\nGuests\n Niklas Sundin - art direction, design\n Lars Szöke - engineer, acoustic guitar\n Peter Tagtgren - keyboards, programming, producing, mixing\n\nGardenian albums\n2000 albums\nAlbums produced by Peter Tägtgren",
"Catherine J Marks is a record producer, mixing engineer and audio engineer. She has worked with such artists as Foals, Manchester Orchestra, The Killers, Local Natives, Wolf Alice, Beware of Darkness, The Big Moon, Frank Carter & The Rattlesnakes, The Amazons, Arno, Howling Bells, Sunset Sons and Eliza Shaddad.\n\nEarly life\n\nBorn in Melbourne, Australia. Catherine was classically trained in piano from the age of four and has a master's degree in Architecture.\n\nCareer \nMarks met the Grammy Award winning record producer Flood, at a Nick Cave concert in Dublin in 2001. After finishing her degree, she moved to London in 2005 to train as an assistant engineer under Flood at Assault and Battery studios in North West London. Catherine continued to work closely with Flood on PJ Harvey records White Chalk and Let England Shake, and on the Editors' In This Light & on This Evening.\n\nIn 2009 Catherine began working alongside the Brit Award-Winning British mixer and producer Alan Moulder, where she did engineering and mixing work on projects including Interpol, Foals, Death Cab for Cutie, Killers, Ronnie Vannuci and Blonde Redhead.\n\nMarks won the 2016 MPG Awards as Breakthrough Producer of The Year.\n\nIn 2018 Catherine won MPG Producer of the Year.\n\nAwards and nominations\n\nGrammy Awards\n\nMusic Producers Guild (MPG) Awards\n\nHeavy Music Awards\n\nSelected production/mixing/engineering credits\n\nSelected production credits:\n\n2020: Alanis Morissette - Such Pretty Forks in the Road - co-produced with Alex Hope\n2018: The Wombats - Beautiful People Will Ruin Your Life - Album (Co-Producing) \n2017: Mélanie De Biasio - Lilies - Album (Mixing) \n2017\n2017: Manchester Orchestra - A Black Mile To The Surface - Album (Producing, Mixing) \n2017: The Amazons - Black Magic - Track (Producing, Mixing) \n2017: Frank Carter & The Rattlesnakes - Modern Ruin - Album (Mixing) \n2016: The Amazons - Little Something - Track (Producing, Mixing) \n2016: Beware of Darkness - Are You Real? - Album (Co-Producing, Mixing) \n2016: Local Natives - Masters - Track (Co-Producing) \n2016: The Big Moon - Cupid - Track (Producing, Mixing) \n2016: The Big Moon - Silent Movie Susie - Track (Producing, Mixing) \n2016: Zack Lopez - One More Day - Track (Mixing) \n2016: Zack Lopez - Don't Say I Won't - Track (Mixing) \n2016: The Amazons - Night Driving -Track (Producing, Mixing) \n2016: April Towers - Silent Fever - Track (Producing, Mixing) \n2016: April Towers - Losing Youth - Track (Producing, Mixing) \n2016: Eliza Shaddad - Run - EP (Producing, Mixing) \n2016: Arno - Human Incognito - Album (Recorded) \n2015: INHEAVEN - Bitter Town -Track (Producing) \n2015: The Amazons - Don't You Wanna - EP (Producing, Mixing) \n2015: Sunset Sons - She Wants - Track (Producing) \n2015: Fairchild - Nom De Guerre - Track (Producing, Mixing) \n2015: Baby Strange - California Sun - Track (Producing) \n2015: Champs - Vamala - Album (Mixing) \n2015: Sunset Sons - The Fall Line - EP (Producing) \n2014: Jagaara - Faultline - Track (Producing, Mixing) \n2014: Wolf Alice - Creature Songs - EP (Producing, Mixing) \n2014: Findlay - Wolfback - Track (Mixing)\n2014: Howling Bells - Heartstrings- Album (Co-Producing, Mixing) \n2014: The Ramona Flowers - Dismantle and Rebuild - Album (Mixing) \n2014: Fairchild - Sadako - EP (Producing, Mixing) \n2014: Fairchild - Burning Feet - EP (Producing, Mixing) \n2014: Meanwhile -Bigger City - Track (Co-Producing, Mixing) \n2014: Lyon Apprentice - Be Honest, Be Wild, Be Free - EP (Mixing) \n2013: Buchanan - Human Spring - Album (Producer) \n2013: Mojo Fury - The Difference Between - Album (Mixing) \n2013: Mike Marlin - The Murderer - Track (Producer, Mixer) \n2013: Mike Marlin - Grand Reveal - Album (Mixer) \n2013: Foals - Holy Fire - Album (Engineering) \n2012: The Killers - Runaways - Track - (Mix/Engineer) \n2012: Ride - Live at Brixton Academy: 1992 - (Mixing) \n2012: A Silent Film - Sand & Snow -Album (Mixing) \n2012: Mike Marlin - Man On The Ground - (Producing, Mixing, Writer)\n\nReferences\n\nLiving people\nYear of birth missing (living people)\nAustralian record producers\nAustralian audio engineers\nPeople from Melbourne\nWomen audio engineers\nAustralian women record producers"
] |
[
"The Smashing Pumpkins",
"Mainstream breakout: 1992-1994",
"How did the smashing pumpkins Breakout in 1992?",
"Amid this environment of intense internal pressure for the band to break through to widespread popularity,",
"did they publish any albums during this time?",
"late 1992 to begin work on their second album, with Butch Vig returning as producer.",
"what as the name of their second album?",
"The recording environment for Siamese Dream was quickly marred by discord within the band.",
"Did they end up producing this album?",
"In all, it took over four months to complete the record, with the budget exceeding $250,000."
] |
C_27a494717f8d47cfa84878b93037e00f_0
|
How well was it received?
| 5 |
How well was The Smashing Pumpkins' second album received?
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The Smashing Pumpkins
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With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'." Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000. Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Husker Du frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world". In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album. CANNOTANSWER
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Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone.
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The Smashing Pumpkins (or Smashing Pumpkins) are an American alternative rock band from Chicago. Formed in 1988 by frontman Billy Corgan (lead vocals, guitar), D'arcy Wretzky (bass), James Iha (guitar), and Jimmy Chamberlin (drums), the band has undergone many line-up changes. The current lineup features Corgan, Chamberlin, Iha and guitarist Jeff Schroeder.
Disavowing the punk rock roots of many of their alt-rock contemporaries, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and, in later recordings, electronica. Corgan is the group's primary songwriter; his musical ambitions and cathartic lyrics have shaped the band's albums and songs, which have been described as "anguished, bruised reports from Billy Corgan's nightmare-land".
The Smashing Pumpkins broke into the musical mainstream with their second album, 1993's Siamese Dream. The group built its audience with extensive touring and their 1995 follow-up, the double album Mellon Collie and the Infinite Sadness, debuted at number one on the Billboard 200 album chart. With 30 million albums sold worldwide, the Smashing Pumpkins were one of the most commercially successful and critically acclaimed bands of the 1990s. However, internal fighting, drug use, and diminishing record sales led to a 2000 break-up.
In 2006, Corgan and Chamberlin reconvened to record a new Smashing Pumpkins album, Zeitgeist. After touring throughout 2007 and 2008 with a lineup including new guitarist Jeff Schroeder, Chamberlin left the band in early 2009. Later that year, Corgan began a new recording series with a rotating lineup of musicians entitled Teargarden by Kaleidyscope, which encompassed the release of stand-alone singles, compilation EP releases, and two full albums that also fell under the project's scope—Oceania in 2012 and Monuments to an Elegy in 2014. Chamberlin and Iha officially rejoined the band in February 2018. The reunited lineup released the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. in November 2018 and Cyr in November 2020.
History
Early years: 1988–1991
After the breakup of his gothic rock band The Marked, singer and guitarist Billy Corgan left St. Petersburg, Florida, to return to his native city of Chicago, where he took a job in a record store and formed the idea of a new band to be called the Smashing Pumpkins. While working there, he met guitarist James Iha. Adorning themselves with paisley and other psychedelic trappings, the two began writing songs together (with the aid of a drum machine) that were heavily influenced by the Cure and New Order. The duo performed live for the first time on July 9, 1988 at the Polish bar Chicago 21. This performance included only Corgan on bass and Iha on guitar with a drum machine. Shortly thereafter, Corgan met D'arcy Wretzky after a show by the Dan Reed Network where they argued the merits of the band. After finding out Wretzky played bass guitar, Corgan recruited her into the lineup, and the trio played a show at the Avalon Nightclub. After this show, Cabaret Metro owner Joe Shanahan agreed to book the band on the condition that they replace the drum
machine with a live drummer.
Jazz drummer Jimmy Chamberlin was recommended by a friend of Corgan's. Chamberlin knew little of alternative music and immediately changed the sound of the nascent band. As Corgan recalled of the period, "We were completely into the sad-rock, Cure kind of thing. It took about two or three practices before I realized that the power in his playing was something that enabled us to rock harder than we could ever have imagined." On October 5, 1988, the complete band took the stage for the first time at the Cabaret Metro.
In 1989, the Smashing Pumpkins made their first appearance on record with the compilation album Light Into Dark, which featured several Chicago alternative bands. The group released its first single, "I Am One", in 1990 on local Chicago label Limited Potential. The single sold out and they released a follow-up, "Tristessa", on Sub Pop, after which they signed to Caroline Records. The band recorded their 1991 debut studio album Gish with producer Butch Vig at his Smart Studios in Madison, Wisconsin for $20,000. In order to gain the consistency he desired, Corgan often played all instruments excluding drums, which created tension in the band. The music fused heavy metal guitars, psychedelia, and dream pop, garnering them comparisons to Jane's Addiction. Gish became a minor success, with the single "Rhinoceros" receiving some airplay on modern rock radio. After releasing the Lull EP in October 1991 on Caroline Records, the band formally signed with Virgin Records, which was affiliated with Caroline. The band supported the album with a tour that included opening for bands such as the Red Hot Chili Peppers, Jane's Addiction, and Guns N' Roses. During the tour, Iha and Wretzky went through a messy breakup, Chamberlin became addicted to narcotics and alcohol, and Corgan entered a deep depression, writing some songs for the upcoming album in the parking garage where he lived at the time.
Mainstream breakout and Siamese Dream: 1992–1994
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'."
Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000.
Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Hüsker Dü frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world".
In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album.
Mellon Collie and the Infinite Sadness: 1995–1997
During 1995, Corgan wrote about 56 songs, following which the band went into the studio with producers Flood and Alan Moulder to work on what Corgan described as "The Wall for Generation X", and which became Mellon Collie and the Infinite Sadness, a double album of twenty-eight songs, lasting over two hours (the vinyl version of the album contained three records, two extra songs, and an alternate track listing). The songs were intended to hang together conceptually as a symbol of the cycle of life and death. Praised by Time as "the group's most ambitious and accomplished work yet", Mellon Collie debuted at number one on the Billboard 200 in October 1995. Even more successful than Siamese Dream, it was certified ten times platinum in the United States and became the best-selling double album of the decade. It also garnered seven 1997 Grammy Award nominations, including Album of the Year. The band won only the Best Hard Rock Performance award, for the album's lead single "Bullet with Butterfly Wings". The album spawned five singles—"Bullet with Butterfly Wings", "1979", "Zero", "Tonight, Tonight" which Corgan stated was inspired by the Cheap Trick song "I'll Be with You Tonight", and "Thirty-Three"—of which the first three were certified gold and all but "Zero" entered the Top 40. Many of the songs that did not make it onto Mellon Collie were released as B-sides to the singles, and were later compiled in The Aeroplane Flies High box set. The set was originally limited to 200,000 copies, but more were produced to meet demand.
In 1996 the Pumpkins undertook an extended world tour in support of Mellon Collie. Corgan's look during this period—a shaved head, a long sleeve black shirt with the word "Zero" printed on it, and silver pants—became iconic. That year, the band also made a guest appearance in an episode of The Simpsons, "Homerpalooza". With considerable video rotation on MTV, major industry awards, and "Zero" shirts selling in many malls, the Pumpkins were considered one of the most popular bands of the time.
In May, the Smashing Pumpkins played a gig at the Point Theatre in Dublin, Ireland. Despite the band's repeated requests for moshing to stop, a seventeen-year-old fan named Bernadette O'Brien was crushed to death. The concert ended early and the following night's performance in Belfast was cancelled out of respect for her. However, while Corgan maintained that moshing's "time [had] come and gone", the band would continue to request open-floor concerts throughout the rest of the tour.
The band suffered a personal tragedy on the night of July 11, 1996, when touring keyboardist Jonathan Melvoin and Chamberlin overdosed on heroin in a hotel room in New York City. Melvoin died, and Chamberlin was arrested for drug possession. A few days later, the band announced that Chamberlin had been fired as a result of the incident. The Pumpkins chose to finish the tour, and hired drummer Matt Walker and keyboardist Dennis Flemion. Corgan later said the decision to continue touring was the worst decision the band had ever made, damaging both their music and their reputation. Chamberlin admitted in a 1994 Rolling Stone cover story that in the past he'd "gotten high in every city in this country and probably half the cities in Europe." But in recent years, he had reportedly been clean. On July 17, the Pumpkins issued a statement in which they said, "For nine years we have battled with Jimmy's struggles with the insidious disease of drug and alcohol addiction. It has nearly destroyed everything we are and stand for. … We wish [him] the best we have to offer". Meanwhile, the band had given interviews since the release of Mellon Collie stating that it would be the last conventional Pumpkins record, and that rock was becoming stale. James Iha said at the end of 1996, "The future is in electronic music. It really seems boring just to play rock music."
Adore, Machina, and breakup: 1998–2000
After the release of Mellon Collie, the Pumpkins contributed many songs to various compilations. Released in early 1997, the song "Eye", which appeared on the soundtrack to David Lynch's Lost Highway, relied almost exclusively on electronic instruments and signaled a drastic shift from the Pumpkins' previous musical styles. At the time, Corgan stated his "idea [was] to reconfigure the focus and get away from the classic guitars-bass-drum rock format." Later that year, the group contributed "The End Is the Beginning Is the End" to the soundtrack for the film Batman & Robin. With Matt Walker on drums, the song featured a heavy sound similar to "Bullet with Butterfly Wings" while still having strong electronic influences. The song later won the 1998 Grammy for Best Hard Rock Performance. Though Corgan announced that the song represented the sound people could expect from the band in the future, the band's next album would feature few guitar-driven songs.
Recorded following the death of Corgan's mother and his divorce, 1998's Adore represented a significant change of style from the Pumpkins' previous guitar-based rock, veering into electronica. The record, cut with assistance from drum machines and studio drummers including Matt Walker, was infused with a darker aesthetic than much of the band's earlier work. The group also modified its public image, shedding its alternative rock look for a more subdued appearance. Although Adore received favorable reviews and was nominated for Best Alternative Performance at the Grammy Awards, the album had only sold about 830,000 copies in the United States by the end of the year. The album nonetheless debuted at number 2 on the Billboard 200 and sold three times as many copies overseas. The band began a seventeen-date, fifteen-city charity North American tour in support of Adore. At each stop on the tour, the band donated 100 percent of tickets sales to a local charity organization. The tour's expenses were entirely funded out of the band's own pockets. All told, the band donated over $2.8 million to charity as a result of the tour. On October 31, 1998 during Halloween, the band opened for Kiss at Dodger Stadium in Los Angeles, dressed in costume as The Beatles.
In 1999 the band surprised fans by reuniting with a rehabilitated Jimmy Chamberlin for a brief tour dubbed "The Arising", which showcased both new and classic material. The lineup was short-lived, however, as the band announced the departure of Wretzky in September during work on the album Machina/The Machines of God. Former Hole bassist Melissa Auf der Maur was recruited for the "Sacred and Profane" tour in support of the album and appeared in the videos accompanying its release. Released in 2000, Machina was initially promoted as the Pumpkins' return to a more traditional rock sound, after the more gothic, electronic-sounding Adore. The album debuted at number three on the Billboard charts, but quickly disappeared and as of 2007 had only been certified gold. Music journalist Jim DeRogatis, who described the album as "one of the strongest of their career", noted that the stalled sales for Machina in comparison to teen pop ascendant at the time "seems like concrete proof that a new wave of young pop fans has turned a deaf ear toward alternative rock."
On May 23, 2000, in a live radio interview on KROQ-FM (Los Angeles), Billy Corgan announced the band's decision to break up at the end of that year following additional touring and recording. The group's final album before the break-up, Machina II/The Friends & Enemies of Modern Music, was released in September 2000 in a limited pressing on vinyl with permission and instructions for free redistribution on the Internet by fans. Only twenty-five copies were cut, each of which was hand numbered and given to friends of the band along with band members themselves. The album, released under the Constantinople Records label created by Corgan, consisted of one double LP and three ten-inch EPs. Originally, the band asked Virgin to offer Machina II as a free download to anyone who bought Machina. When the record label declined, Corgan opted to release the material independently.
On December 2, 2000, Smashing Pumpkins played a farewell concert at The Metro, the same Chicago club where their career had effectively started twelve years earlier. The four-and-a-half-hour-long show featured 35 songs spanning the group's career, and attendees were given a recording of the band's first concert at The Metro, Live at Cabaret Metro 10-5-88. The single "Untitled" was released commercially to coincide with the farewell show.
Post-breakup: 2001–2004
In 2001 the compilation Rotten Apples was released. The double-disc version of the album, released as a limited edition, included a collection of B-sides and rarities called Judas O. The Greatest Hits Video Collection DVD was also released at the same time. This was a compilation of all of the Pumpkins promo videos from Gish to Machina along with unreleased material. Vieuphoria was released on DVD in 2002, as was the soundtrack album Earphoria, previously released solely to radio stations in 1994.
Billy Corgan and Jimmy Chamberlin reunited in 2001 as members of Corgan's next project, the short-lived supergroup Zwan. The group's only album, Mary Star of the Sea, was released in 2003. After cancelling a few festival appearances, Corgan announced the demise of the band in 2003. During 2001 Corgan also toured as part of New Order and provided vocals on their comeback album Get Ready. In October 2004 Corgan released his first book, Blinking with Fists, a collection of poetry. In June 2005, he released a solo album, TheFutureEmbrace, which he described as "(picking) up the thread of the as-yet-unfinished work of the Smashing Pumpkins". Despite this, it was greeted with generally mixed reviews and lackluster sales. Only one single, "Walking Shade", was released in support of the album.
In addition to drumming with Zwan, Jimmy Chamberlin also formed an alternative rock/jazz fusion project band called Jimmy Chamberlin Complex. The group released an album in 2005 titled Life Begins Again. Corgan provided guest vocals on the track "Lokicat". James Iha served as a guitarist in A Perfect Circle, appearing on their Thirteenth Step club tour and 2004 album, eMOTIVe. He has also been involved with other acts such as Chino Moreno's Team Sleep and Vanessa and the O's. He continues to work with Scratchie Records, his own record label, as well. D'arcy Wretzky has, aside from one radio interview in 2009, not made any public statements or appearances nor given any interviews since leaving the band in 1999. On January 25, 2000, she was arrested after she allegedly purchased three bags of cocaine, but after successfully completing a court-ordered drug education program, the charges were dropped.
Corgan insisted during this period that the band would not reform, although when Zwan broke up he announced, "I think my heart was in Smashing Pumpkins […] I think it was naive of me to think that I could find something that would mean as much to me." Corgan said in 2005, "I never wanted to leave the Smashing Pumpkins. That was never the plan." On February 17, 2004, Corgan posted a message on his personal blog calling Wretzky a "mean-spirited drug addict" and blaming Iha for the breakup of the Smashing Pumpkins. On June 3, 2004, he added that "the depth of my hurt [from Iha] is only matched with the depth of my gratitude". Iha responded to Corgan's claims in 2005, saying, "No, I didn't break up the band. The only person who could have done that is Billy."
Reformation and Zeitgeist: 2005–2008
On June 21, 2005, the day of the release of his first solo album TheFutureEmbrace, Corgan took out full-page advertisements in the Chicago Tribune and Chicago Sun-Times to announce that he planned to reunite the band. "For a year now", Corgan wrote, "I have walked around with a secret, a secret I chose to keep. But now I want you to be among the first to know that I have made plans to renew and revive the Smashing Pumpkins. I want my band back, and my songs, and my dreams". Corgan and Chamberlin were verified as participants in the reunion, but there was question as to whether other former members of the band would participate.
In April 2007 Iha and Auf der Maur separately confirmed that they were not taking part in the reunion. Chamberlin would later state that Iha and Wretzky "didn't want to be a part of" the reunion. The Smashing Pumpkins performed live for the first time since 2000 on May 22, 2007, in Paris, France. There, the band unveiled new touring members: guitarist Jeff Schroeder, bassist Ginger Reyes, and keyboardist Lisa Harriton. That same month, "Tarantula" was released as the first single from the band's forthcoming album. On July 7, the band performed at the Live Earth concert in New Jersey.
The band's new album, Zeitgeist, was released that same month on Reprise Records, entering the Billboard charts at number two and selling 145,000 copies in its first week. Zeitgeist received mixed reviews, with much of the criticism targeted at the absence of half of the original lineup. The album divided the Pumpkins' fanbase. Corgan would later admit, "I know a lot of our fans are puzzled by Zeitgeist. I think they wanted this massive, grandiose work, but you don't just roll out of bed after seven years without a functioning band and go back to doing that".
Corgan and Chamberlin continued to record as a duo, releasing the four-song EP American Gothic in January 2008 and the singles "Superchrist" and "G.L.O.W." later that year. That November, the group released the DVD If All Goes Wrong, which chronicled the group's 2007 concert residences in Asheville, North Carolina and San Francisco, California. In late 2008, the band commenced on a controversy-riddled 20th Anniversary Tour. Around this time, Corgan said the group will make no more full-length records in order to focus exclusively on singles, explaining, "The listening patterns have changed, so why are we killing ourselves to do albums, to create balance, and do the arty track to set up the single? It's done."
Teargarden and Oceania: 2009–2013
In March 2009 Corgan announced on the band's website that Chamberlin had left the group and would be replaced. Chamberlin subsequently stated that his departure from the band is "a positive move forward for me. I can no longer commit all of my energy into something that I don't fully possess." Chamberlin stressed that the split was amicable, commenting, "I am glad [Corgan] has chosen to continue under the name. It is his right." Chamberlin soon formed the band Skysaw, which has released an album and toured in support of Minus the Bear. In July 2009 Billy Corgan formed a new group called Spirits in the Sky, initially as a tribute band to Sky Saxon of the Seeds, who had recently died. The following month Corgan confirmed on the band's website that 19-year-old Spirits in the Sky drummer Mike Byrne had replaced Chamberlin and that the pair was working on new Pumpkins recordings.
The group announced plans to release a 44-track concept album, Teargarden by Kaleidyscope, for free over the Internet one track at a time. The first track, "A Song for a Son", was released in December 2009 to moderate press acclaim. In March 2010 Ginger Reyes officially left the band, prompting an open call for auditions for a new bassist. In May, Nicole Fiorentino announced she had joined the band as bass player, and would be working on Teargarden by Kaleidyscope. The new lineup went on a world tour through to the end of 2010. One of the first shows with the new lineup was a concert to benefit Matthew Leone, bassist for the rock band Madina Lake, at the Metro on July 27, 2010. In late 2010 all four members contributed to the sessions for the third volume of Teargarden.
On April 26, 2011, Corgan announced that the Smashing Pumpkins would be releasing a new album titled Oceania, which he labeled as "an album within an album" in regards to the Teargarden by Kaleidyscope project, in the fall. As with the previous recording sessions, all four band members contributed to the project. Also, the entire album catalog was to be remastered and reissued with bonus tracks, starting with Gish and Siamese Dream in November 2011. The pre-Gish demos, Pisces Iscariot, and Mellon Collie and the Infinite Sadness were released in 2012, with The Aeroplane Flies High released the following year. Adore was released in 2014, and Machina/The Machines of God and the yet commercially unreleased Machina II/Friends and Enemies of Modern Music are expected to be combined, remixed, and released in the same year. The band did a thirteen-city US tour in October 2011 followed by a European tour in November and December.
Oceania was released on June 19, 2012, and received generally positive reviews. The album debuted at No. 4 on the Billboard 200 and at No. 1 on the Billboard Independent. The album spawned two singles, "The Celestials" and "Panopticon". The band proceeded to tour in support of the album, including a US tour involving playing the album in its entirety. By September 2012, Corgan stated that the band had already begun work on their next album. However, despite this, the band concentrated on touring, playing at Glastonbury Festival, Dour Festival and the Barclays Center, where they recorded Oceania: Live in NYC, which was released on September 24, 2013.
Monuments to an Elegy: 2014–2016
On March 25, 2014, Corgan announced he had signed a new record deal with BMG, for two new albums, titled Monuments to an Elegy and Day for Night, respectively. In June, it was revealed that Mike Byrne was no longer in the band, to be replaced by Tommy Lee of Mötley Crüe on the new album, and Fiorentino would not be recording on the album either. Monuments to an Elegy was released on December 5, 2014, to generally positive reviews. The band toured in support of the album starting on November 26, with Rage Against the Machine's Brad Wilk filling in on drums and the Killers' Mark Stoermer filling in on bass. The follow-up proposed album Day For Night was cited for delayed late 2015 or early 2016 release.
Later in 2015 Corgan announced that the band would embark on a co-headlining tour of North America with Marilyn Manson, "The End Times Tour", across July and August 2015. Prior to the co-headlining dates, the band performed a series of acoustic shows with drum machines and tapes for percussion. When the time came for the co-headlining tour, plans for a drummer fell through and Corgan recruited Chamberlin to reunite for the shows. On February 1, 2016, it was announced that the band would continue their In Plainsong acoustic tour with Jimmy Chamberlin on drums and were planning to head "straight to the studio after the dates to record a brand new album inspired by the sounds explored in the new acoustic setting". On February 25, 2016, Corgan posted a video from a Los Angeles studio on the band's Facebook account, giving an update on the writing process for the new songs for the upcoming album to be released after the In Plainsong tour.
The tour began in Portland, Oregon, on March 22, 2016.
Iha and Chamberlin's return; Shiny and Oh So Bright and Cyr: 2018–present
On his birthday on March 26, 2016, original guitarist James Iha joined Billy Corgan, Jimmy Chamberlin, and Jeff Schroeder on stage unannounced at the Ace Hotel in downtown Los Angeles. He performed a few songs, including "Mayonaise", "Soma" and "Whir" marking his first appearance with the Smashing Pumpkins in 16 years. Iha also played at the second of the two Smashing Pumpkins shows at the Ace Hotel the following day, which was Easter Sunday. Iha joined the Pumpkins for a third time at their concert of April 14 at the Civic Opera House in Chicago. In July, Corgan began hinting of the possibility of reuniting the band original lineup, of himself, Iha, Wretzky, and Chamberlin, and in August, he stated he had begun reaching out to the original lineup about the feasibility of a reunion, including speaking to Wretzky for the first time in sixteen years. Despite the comments, Corgan would spend much of 2017 working on solo material – recording and releasing the solo album Ogilala and beginning work on another solo album for 2018. In June 2017 Chamberlin also mentioned the possibility of a reunion tour in 2018. In January 2018 Corgan shared a photo of himself, Iha, and Chamberlin together in recording studio. In February 2018 Corgan announced that he was working with music producer Rick Rubin on a future Smashing Pumpkins album, that there were currently 26 songs he was actively working on, and that "the guitar feels once again like the preferred weapon of choice." Soon afterwards, Corgan shared a photo of sound equipment with Iha's name on a label, as well as announcing recording was finished on the album.
On February 15, 2018, the band officially announced that founding members Iha and Chamberlin were back in the band. They embarked on the Shiny And Oh So Bright Tour starting in July, with a focus on performing material from their first five studio albums. and sold over 350,000 tickets and sold out arenas including The Forum, United Center, and Madison Square Garden. Original bassist D'arcy Wretzky claimed she had been offered a contract to rejoin the band but Corgan rescinded the offer soon after. Corgan released a statement denying the claims, stating "Ms. Wretzky has repeatedly been invited out to play with the group, participate in demo sessions, or at the very least, meet face-to-face, and in each and every instance she always deferred". Jack Bates (son of Joy Division bassist Peter Hook) played bass on the tour. Bates previously toured with the Smashing Pumpkins in 2015. Multi-instrumentalist Katie Cole rejoined the band for the tour as well, singing backup vocals and playing keyboards and guitar.
In March 2018, Corgan mentioned the band planned to release two EPs in 2018, with the first tentatively planned for May. On June 8, 2018, the first single from the set of music, "Solara", was released. On August 2, 2018, the band celebrated their 30th anniversary by performing in Holmdel, New Jersey. with several notable special guests including Courtney Love, Chino Moreno, Davey Havok, Peter Hook, Mark McGrath, and Dave Keuning and Mark Stoermer of The Killers. In September 2018, they announced the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun., released via Napalm Records on November 16, 2018, which debuted at number 54 on the Billboard 200 chart.
After touring through much of 2019, Corgan noted in January 2020 that the band was currently working on 21 songs for a future album release. On August 28, 2020, the band released the single and video for "Cyr", along with a second track titled "The Colour of Love" from their album Cyr, which was released through their new record label Sumerian Records on November 27, 2020. It serves as the second part of the Shiny and Oh So Bright series. On September 25, 2020, the band released another single from Cyr that included the songs "Confessions of a Dopamine Addict" and "Wrath". On October 9, 2020, the band released a third single for Cyr that featured the tracks "Anno Satana" and "Birch Grove". On October 29, the band released "Ramona" and "Wyttch" as the fourth pair of singles. On November 20, 2020, the songs "Purple Blood" and "Dulcet in E" were released as the fifth and final single for Cyr. The following week, on November 27, 2020, the band released Cyr. Despite never getting to properly tour Cyr, the band did play four songs from the album at their headlining shows at Riot Fest and Sea.Hear.Now Festival in September 2021.
In late 2020, Corgan announced that the band would begin work on another double album for release in 2021, although the year passed without the album releasing. The double album is to serve as a sequel to the overarching story of Mellon Collie and the Infinite Sadness and Machina: The Machines of God. On February 22, the band announced on social media the Rock Invasion 2 Tour, which had previously been set to take place in spring 2020, but had been postponed to fall 2020 and subsequently canceled due to the COVID-19 pandemic. The newly announced incarnation of the tour had entirely new locations spanning 11 US cities accompanying the band's spring festival appearances and four performances in Mexico, their first since 2013.
Musical style, influences, and legacy
The direction of the band is dominated by lead guitarist, lead vocalist, keyboardist, bassist and principal songwriter Billy Corgan. Journalist Greg Kot wrote, "The music [of the Smashing Pumpkins] would not be what it is without his ambition and vision, and his famously fractured relationships with his family, friends, and bandmembers." Melissa Auf der Maur commented upon news of the group's reunion, "Everyone knows Billy doesn't need too many people to make a Pumpkins record, other than Jimmy [Chamberlin]—who he has on board." In a 2015 interview Corgan himself referred to the current iteration of the band "as sort of an open source collective" noting that "It's whoever feels right at the time." Many of Corgan's lyrics for the Pumpkins are cathartic expressions of emotion, full of personal musings and strong indictments of himself and those close to him. Music critics were not often fans of Corgan's angst-filled lyrics. Jim DeRogatis wrote in a 1993 Chicago Sun-Times article that Corgan's lyrics "too often sound like sophomoric poetry", although he viewed the lyrics of later albums Adore and Machina as an improvement. The band's songs have been described as "anguished, bruised reports from Billy Corgan's nightmare-land" by journalist William Shaw.
Smashing Pumpkins, unlike many alternative rock bands at the time, disavowed the influence of punk rock on their sound. Overall, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and electronica in later recordings.
The Smashing Pumpkins' distinctive sound up until Adore involved layering numerous guitar tracks onto a song during the recording process, a tactic that Mellon Collie and the Infinite Sadness coproducer Flood called the "Pumpkin guitar overdub army." Although there were a lot of overdubbed parts on Gish, Corgan began to really explore the possibilities of overdubbing with Siamese Dream; Corgan has stated that "Soma" alone contains up to 40 overdubbed guitar parts. While Corgan knew many of the songs would be difficult or impossible to replicate from their recorded versions in concert (in fact, some songs were drastically altered for live performance), he has explained the use of overdubbing by posing the question "When you are faced with making a permanent recorded representation of a song, why not endow it with the grandest possible vision?" This use of multilayered sounds was inspired by Corgan's love of 1970s popular artists & bands such as: David Bowie, Cheap Trick, Queen, Boston, and the Electric Light Orchestra, as well as shoegaze, a British alternative rock style of the late 1980s and early 1990s that relied on swirling layers of guitar noise for effect. Mellon Collie coproducer Alan Moulder was originally hired to mix Siamese Dream because Corgan was a fan of his work producing shoegaze bands such as My Bloody Valentine, Ride, and Slowdive.
Like many contemporary alternative bands, the Smashing Pumpkins utilized shifts in song dynamics, going from quiet to loud and vice versa. Hüsker Dü's seminal album Zen Arcade demonstrated to the band how they could place gentler material against more aggressive fare, and Corgan made such shifts in dynamics central to the pursuit of his grand musical ambitions. Corgan said he liked the idea of creating his own alternative universe through sound that essentially tells the listener, "Welcome to Pumpkin Land, this is what it sounds like on Planet Pumpkin." This emphasis on atmosphere carried through to Adore (described as "arcane night music" in prerelease promotion) and the Machina albums (concept records that tell the story of a fictional rock band).
The Pumpkins drew inspiration from a variety of other genres, some unfashionable during the 1990s among music critics. Corgan in particular was open about his appreciation of heavy metal, citing Dimebag Darrell of Pantera as his favorite contemporary guitarist. When one interviewer commented to Corgan and Iha that "Smashing Pumpkins is one of the groups that relegitimized heavy metal" and that they "were among the first alternative rockers to mention people like Ozzy and Black Sabbath with anything other than contempt". Corgan went on to rave about Black Sabbath's Master of Reality and Judas Priest's Unleashed in the East. The song "Zero", which reminded Iha of Judas Priest, is an example of what the band dubbed "cybermetal." Post-punk and gothic rock bands like Joy Division/New Order, Bauhaus, the Cure, and Depeche Mode were formative influences on the band, which covered such artists in concert and on record. Corgan also cited Siouxsie and the Banshees saying it was important to point back to bands that influenced them. Psychedelic rock was also referenced often in the band's early recordings; according to Corgan, "In typical Pumpkins fashion, no one at that point really liked loud guitars or psychedelic music so, of course, that's exactly what we had to do." Corgan felt that the band's guitars "are a mixture of heavy metal and 80s alternative rock. I think of Cure and Siouxsie and the Banshees". Corgan acknowledged that a chord he jokingly claimed as "the Pumpkin chord" (a G# octave chord at the eleventh fret of a guitar with the low E string played over it), used as the basis for "Cherub Rock", "Drown", and other songs, was in fact previously used by Jimi Hendrix. Other early influences cited by Corgan include Cream, the Stooges, and Blue Cheer.
Regarding the band's influence upon other groups, Greg Kot wrote in 2001, "Whereas Nirvana spawned countless mini-Nirvanas, the Pumpkins remain an island unto themselves." Still, some artists and bands have been influenced by the Pumpkins, such as Nelly Furtado, Marilyn Manson, Third Eye Blind, Mark Hoppus of Blink-182, Tegan and Sara, Fall Out Boy, Rivers Cuomo, Panic! at the Disco, Silversun Pickups, and My Chemical Romance. My Chemical Romance vocalist Gerard Way has said that they pattern their career upon the Pumpkins', including music videos. The members of fellow Chicago band Kill Hannah are friends with Corgan, and lead singer Mat Devine has compared his group to the Pumpkins.
The group has sold over 30 million albums worldwide as of October 2012, and sales in the United States alone reaching 19.75 million.
Music videos
The Smashing Pumpkins have been praised as "responsible for some of the most striking and memorable video clips" and for having "approached videos from a completely artistic standpoint rather than mere commercials to sell albums". MTV's 2001 anniversary special Testimony: 20 Years of Rock on MTV credited the Pumpkins, along with Nine Inch Nails, with treating music videos as an art form during the 1990s. Corgan has said, "We generally resisted the idea of what I call the classic MTV rock video, which is like lots of people jumping around and stuff." The band worked with video directors including Kevin Kerslake ("Cherub Rock"), Samuel Bayer ("Bullet with Butterfly Wings"), and, most frequently, the team of Jonathan Dayton and Valerie Faris ("Rocket", "1979", "Tonight, Tonight", "The End Is the Beginning Is the End", and "Perfect"). Corgan, who was frequently heavily involved in the conception of the videos, said of Dayton and Faris, "I know my [initial] versions are always darker, and they're always talking me into something a little kinder and gentler." Videos like "Today", "Rocket", and "1979" dealt with images taken from middle American culture, albeit exaggerated. The group's videos so often avoid the literal interpretation of the song lyrics that the video for "Thirty-Three", with images closely related to the words of the song, was created as an intentional stylistic departure.
The band was nominated for several MTV Video Music Awards during the 1990s. In 1996, the group won eight VMAs total for the "1979" and "Tonight, Tonight" videos, including the top award, Video of the Year, for "Tonight, Tonight". The video was also nominated for a Grammy at the 1997 ceremony. Of the "Tonight, Tonight" video, Corgan remarked, "I don't think we've ever had people react [like this]... it just seemed to touch a nerve."
Shortly after the band's 2000 breakup, the Greatest Hits Video Collection was released, collecting the band's music videos from 1991 to 2000 and including commentary from Corgan, Iha, Chamberlin, Wretzky, and various music video directors with outtakes, live performances, and the extended "Try, Try, Try" short film.
Band members
Current members
Billy Corgan – lead vocals, guitars, keyboards, bass guitar (1988–2000, 2006–present)
James Iha – guitars, bass guitar, vocals (1988–2000, 2018–present)
Jimmy Chamberlin – drums (1988–1996, 1998–2000, 2006–2009, 2015–present)
Jeff Schroeder – guitars, keyboards (2007–present)
Live members
Jack Bates – bass guitar (2015–present)
Katie Cole – keyboards, backing vocals (2015–present)
Former members
D'arcy Wretzky – bass guitar, backing vocals (1988–1999)
Melissa Auf der Maur – bass guitar (1999–2000)
Mike Byrne – drums, backing vocals, keyboards (2009–2014)
Nicole Fiorentino – bass guitar, backing vocals, keyboards (2010–2014)
Awards
American Music Awards
1997 – Best Alternative Artist
Grammy Awards
1997 – "Bullet with Butterfly Wings" – Best Hard Rock Performance
1998 – "The End Is the Beginning Is the End" – Best Hard Rock Performance
MTV Europe Music Awards
1996 – Best Rock
MTV Video Music Awards
1996 – "Tonight, Tonight" – Video of the Year, Breakthrough Video, Best Direction, Best Visual Effects, Best Art Direction, Best Cinematography
1996 – "1979" – Best Alternative Video
Discography
Studio albums
Gish (1991)
Siamese Dream (1993)
Mellon Collie and the Infinite Sadness (1995)
Adore (1998)
Machina/The Machines of God (2000)
Machina II/The Friends & Enemies of Modern Music (2000)
Zeitgeist (2007)
Oceania (2012)†
Monuments to an Elegy (2014)†
Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018)
Cyr (2020)
Notes
† Part of Teargarden by Kaleidyscope (2009–2014), an overarching project abandoned before completion.
See also
List of artists who reached number one on the U.S. alternative rock chart
Notes
References
Bibliography
Further reading
External links
1988 establishments in Illinois
Alternative rock groups from Chicago
Articles which contain graphical timelines
Caroline Records artists
Grammy Award winners
MTV Europe Music Award winners
Musical groups established in 1988
Musical groups disestablished in 2000
Musical groups reestablished in 2006
Musical quartets
American musical trios
Reprise Records artists
Sumerian Records artists
Virgin Records artists
Musical groups from Chicago
| true |
[
"How Is Your Fish Today?, also known as Jin Tian De Yu Zen Me Yang?, is a 2007 Chinese film written by Xiaolu Guo and Hui Rao. It was directed by Xiaolu Guo. The film is a drama set in modern China, focusing on the intertwined stories of two main characters; a frustrated writer (Hui Rao) and the subject of his latest work, Lin Hao (Zijiang Yang). How Is Your Fish Today won 4 international awards and was well received by critics, but was not commercially successful.\n\nCast\n Hui Rao as himself\n Zijiang Yang as Lin Hao\n Xiaolu Guo as Mimi\n Ning Hao as Hu Ning\n\nReception\nHow Is Your Fish Today? was consistently given good ratings by reviewers, but still remains fairly unpopular.\n\nCritics\nOn its release, How Is Your Fish Today? was received well by critics, who applauded the film as an impressive debut from Guo.\n\nAwards\n \"Grand Prix\" at the 2007 Créteil International Women's Film Festival\n Special Mention at the 2007 Fribourg International Film Festival\n Special Mention at the 2007 Pesaro International Film Festival of New Cinema\n NETPAC Special Mention at the 2007 Rotterdam International Film Festival\n\nNominations\n\n \"Tiger Award\" at the 2007 Rotterdam International Film Festival\n \"Grand Jury Prize\" in the World Cinema/Dramatic categories at the 2007 Sundance Film Festival\n\nReferences\n\nExternal links\nHOW IS YOUR FISH TODAY? site for Independent Lens on PBS \n \n \n \n\n2007 films\nChinese films\nMandarin-language films\nFilms directed by Xiaolu Guo",
"Total Loss is the second studio album by American musician How to Dress Well. It was released in September 2012 on Acephale Records in North America and Weird World Records in other regions. The track \"Cold Nites\", which was co-written and co-produced by Forest Swords, was released as a single.\n\nCritical reception\n\nAt Metacritic, which assigns a weighted average score out of 100 to reviews from mainstream critics, the album received an average score of 77% based on 25 reviews, indicating \"generally favorable reviews\".\n\nIt was listed 33rd on Stereogums list of top 50 albums of 2012. Pitchfork placed it at number 28 on its list of the top 50 albums of 2012.\n\nAccolades\n\nTrack listing\n\nCharts\n\nReferences\n\nExternal links\n \n\n2012 albums\nHow to Dress Well albums\nAlbums produced by Rodaidh McDonald"
] |
[
"The Smashing Pumpkins",
"Mainstream breakout: 1992-1994",
"How did the smashing pumpkins Breakout in 1992?",
"Amid this environment of intense internal pressure for the band to break through to widespread popularity,",
"did they publish any albums during this time?",
"late 1992 to begin work on their second album, with Butch Vig returning as producer.",
"what as the name of their second album?",
"The recording environment for Siamese Dream was quickly marred by discord within the band.",
"Did they end up producing this album?",
"In all, it took over four months to complete the record, with the budget exceeding $250,000.",
"How well was it received?",
"Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone."
] |
C_27a494717f8d47cfa84878b93037e00f_0
|
Did they win any awards during this time?
| 6 |
Did The Smashing Pumpkins win any awards in 1992?
|
The Smashing Pumpkins
|
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'." Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000. Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Husker Du frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world". In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album. CANNOTANSWER
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CANNOTANSWER
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The Smashing Pumpkins (or Smashing Pumpkins) are an American alternative rock band from Chicago. Formed in 1988 by frontman Billy Corgan (lead vocals, guitar), D'arcy Wretzky (bass), James Iha (guitar), and Jimmy Chamberlin (drums), the band has undergone many line-up changes. The current lineup features Corgan, Chamberlin, Iha and guitarist Jeff Schroeder.
Disavowing the punk rock roots of many of their alt-rock contemporaries, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and, in later recordings, electronica. Corgan is the group's primary songwriter; his musical ambitions and cathartic lyrics have shaped the band's albums and songs, which have been described as "anguished, bruised reports from Billy Corgan's nightmare-land".
The Smashing Pumpkins broke into the musical mainstream with their second album, 1993's Siamese Dream. The group built its audience with extensive touring and their 1995 follow-up, the double album Mellon Collie and the Infinite Sadness, debuted at number one on the Billboard 200 album chart. With 30 million albums sold worldwide, the Smashing Pumpkins were one of the most commercially successful and critically acclaimed bands of the 1990s. However, internal fighting, drug use, and diminishing record sales led to a 2000 break-up.
In 2006, Corgan and Chamberlin reconvened to record a new Smashing Pumpkins album, Zeitgeist. After touring throughout 2007 and 2008 with a lineup including new guitarist Jeff Schroeder, Chamberlin left the band in early 2009. Later that year, Corgan began a new recording series with a rotating lineup of musicians entitled Teargarden by Kaleidyscope, which encompassed the release of stand-alone singles, compilation EP releases, and two full albums that also fell under the project's scope—Oceania in 2012 and Monuments to an Elegy in 2014. Chamberlin and Iha officially rejoined the band in February 2018. The reunited lineup released the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. in November 2018 and Cyr in November 2020.
History
Early years: 1988–1991
After the breakup of his gothic rock band The Marked, singer and guitarist Billy Corgan left St. Petersburg, Florida, to return to his native city of Chicago, where he took a job in a record store and formed the idea of a new band to be called the Smashing Pumpkins. While working there, he met guitarist James Iha. Adorning themselves with paisley and other psychedelic trappings, the two began writing songs together (with the aid of a drum machine) that were heavily influenced by the Cure and New Order. The duo performed live for the first time on July 9, 1988 at the Polish bar Chicago 21. This performance included only Corgan on bass and Iha on guitar with a drum machine. Shortly thereafter, Corgan met D'arcy Wretzky after a show by the Dan Reed Network where they argued the merits of the band. After finding out Wretzky played bass guitar, Corgan recruited her into the lineup, and the trio played a show at the Avalon Nightclub. After this show, Cabaret Metro owner Joe Shanahan agreed to book the band on the condition that they replace the drum
machine with a live drummer.
Jazz drummer Jimmy Chamberlin was recommended by a friend of Corgan's. Chamberlin knew little of alternative music and immediately changed the sound of the nascent band. As Corgan recalled of the period, "We were completely into the sad-rock, Cure kind of thing. It took about two or three practices before I realized that the power in his playing was something that enabled us to rock harder than we could ever have imagined." On October 5, 1988, the complete band took the stage for the first time at the Cabaret Metro.
In 1989, the Smashing Pumpkins made their first appearance on record with the compilation album Light Into Dark, which featured several Chicago alternative bands. The group released its first single, "I Am One", in 1990 on local Chicago label Limited Potential. The single sold out and they released a follow-up, "Tristessa", on Sub Pop, after which they signed to Caroline Records. The band recorded their 1991 debut studio album Gish with producer Butch Vig at his Smart Studios in Madison, Wisconsin for $20,000. In order to gain the consistency he desired, Corgan often played all instruments excluding drums, which created tension in the band. The music fused heavy metal guitars, psychedelia, and dream pop, garnering them comparisons to Jane's Addiction. Gish became a minor success, with the single "Rhinoceros" receiving some airplay on modern rock radio. After releasing the Lull EP in October 1991 on Caroline Records, the band formally signed with Virgin Records, which was affiliated with Caroline. The band supported the album with a tour that included opening for bands such as the Red Hot Chili Peppers, Jane's Addiction, and Guns N' Roses. During the tour, Iha and Wretzky went through a messy breakup, Chamberlin became addicted to narcotics and alcohol, and Corgan entered a deep depression, writing some songs for the upcoming album in the parking garage where he lived at the time.
Mainstream breakout and Siamese Dream: 1992–1994
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'."
Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000.
Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Hüsker Dü frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world".
In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album.
Mellon Collie and the Infinite Sadness: 1995–1997
During 1995, Corgan wrote about 56 songs, following which the band went into the studio with producers Flood and Alan Moulder to work on what Corgan described as "The Wall for Generation X", and which became Mellon Collie and the Infinite Sadness, a double album of twenty-eight songs, lasting over two hours (the vinyl version of the album contained three records, two extra songs, and an alternate track listing). The songs were intended to hang together conceptually as a symbol of the cycle of life and death. Praised by Time as "the group's most ambitious and accomplished work yet", Mellon Collie debuted at number one on the Billboard 200 in October 1995. Even more successful than Siamese Dream, it was certified ten times platinum in the United States and became the best-selling double album of the decade. It also garnered seven 1997 Grammy Award nominations, including Album of the Year. The band won only the Best Hard Rock Performance award, for the album's lead single "Bullet with Butterfly Wings". The album spawned five singles—"Bullet with Butterfly Wings", "1979", "Zero", "Tonight, Tonight" which Corgan stated was inspired by the Cheap Trick song "I'll Be with You Tonight", and "Thirty-Three"—of which the first three were certified gold and all but "Zero" entered the Top 40. Many of the songs that did not make it onto Mellon Collie were released as B-sides to the singles, and were later compiled in The Aeroplane Flies High box set. The set was originally limited to 200,000 copies, but more were produced to meet demand.
In 1996 the Pumpkins undertook an extended world tour in support of Mellon Collie. Corgan's look during this period—a shaved head, a long sleeve black shirt with the word "Zero" printed on it, and silver pants—became iconic. That year, the band also made a guest appearance in an episode of The Simpsons, "Homerpalooza". With considerable video rotation on MTV, major industry awards, and "Zero" shirts selling in many malls, the Pumpkins were considered one of the most popular bands of the time.
In May, the Smashing Pumpkins played a gig at the Point Theatre in Dublin, Ireland. Despite the band's repeated requests for moshing to stop, a seventeen-year-old fan named Bernadette O'Brien was crushed to death. The concert ended early and the following night's performance in Belfast was cancelled out of respect for her. However, while Corgan maintained that moshing's "time [had] come and gone", the band would continue to request open-floor concerts throughout the rest of the tour.
The band suffered a personal tragedy on the night of July 11, 1996, when touring keyboardist Jonathan Melvoin and Chamberlin overdosed on heroin in a hotel room in New York City. Melvoin died, and Chamberlin was arrested for drug possession. A few days later, the band announced that Chamberlin had been fired as a result of the incident. The Pumpkins chose to finish the tour, and hired drummer Matt Walker and keyboardist Dennis Flemion. Corgan later said the decision to continue touring was the worst decision the band had ever made, damaging both their music and their reputation. Chamberlin admitted in a 1994 Rolling Stone cover story that in the past he'd "gotten high in every city in this country and probably half the cities in Europe." But in recent years, he had reportedly been clean. On July 17, the Pumpkins issued a statement in which they said, "For nine years we have battled with Jimmy's struggles with the insidious disease of drug and alcohol addiction. It has nearly destroyed everything we are and stand for. … We wish [him] the best we have to offer". Meanwhile, the band had given interviews since the release of Mellon Collie stating that it would be the last conventional Pumpkins record, and that rock was becoming stale. James Iha said at the end of 1996, "The future is in electronic music. It really seems boring just to play rock music."
Adore, Machina, and breakup: 1998–2000
After the release of Mellon Collie, the Pumpkins contributed many songs to various compilations. Released in early 1997, the song "Eye", which appeared on the soundtrack to David Lynch's Lost Highway, relied almost exclusively on electronic instruments and signaled a drastic shift from the Pumpkins' previous musical styles. At the time, Corgan stated his "idea [was] to reconfigure the focus and get away from the classic guitars-bass-drum rock format." Later that year, the group contributed "The End Is the Beginning Is the End" to the soundtrack for the film Batman & Robin. With Matt Walker on drums, the song featured a heavy sound similar to "Bullet with Butterfly Wings" while still having strong electronic influences. The song later won the 1998 Grammy for Best Hard Rock Performance. Though Corgan announced that the song represented the sound people could expect from the band in the future, the band's next album would feature few guitar-driven songs.
Recorded following the death of Corgan's mother and his divorce, 1998's Adore represented a significant change of style from the Pumpkins' previous guitar-based rock, veering into electronica. The record, cut with assistance from drum machines and studio drummers including Matt Walker, was infused with a darker aesthetic than much of the band's earlier work. The group also modified its public image, shedding its alternative rock look for a more subdued appearance. Although Adore received favorable reviews and was nominated for Best Alternative Performance at the Grammy Awards, the album had only sold about 830,000 copies in the United States by the end of the year. The album nonetheless debuted at number 2 on the Billboard 200 and sold three times as many copies overseas. The band began a seventeen-date, fifteen-city charity North American tour in support of Adore. At each stop on the tour, the band donated 100 percent of tickets sales to a local charity organization. The tour's expenses were entirely funded out of the band's own pockets. All told, the band donated over $2.8 million to charity as a result of the tour. On October 31, 1998 during Halloween, the band opened for Kiss at Dodger Stadium in Los Angeles, dressed in costume as The Beatles.
In 1999 the band surprised fans by reuniting with a rehabilitated Jimmy Chamberlin for a brief tour dubbed "The Arising", which showcased both new and classic material. The lineup was short-lived, however, as the band announced the departure of Wretzky in September during work on the album Machina/The Machines of God. Former Hole bassist Melissa Auf der Maur was recruited for the "Sacred and Profane" tour in support of the album and appeared in the videos accompanying its release. Released in 2000, Machina was initially promoted as the Pumpkins' return to a more traditional rock sound, after the more gothic, electronic-sounding Adore. The album debuted at number three on the Billboard charts, but quickly disappeared and as of 2007 had only been certified gold. Music journalist Jim DeRogatis, who described the album as "one of the strongest of their career", noted that the stalled sales for Machina in comparison to teen pop ascendant at the time "seems like concrete proof that a new wave of young pop fans has turned a deaf ear toward alternative rock."
On May 23, 2000, in a live radio interview on KROQ-FM (Los Angeles), Billy Corgan announced the band's decision to break up at the end of that year following additional touring and recording. The group's final album before the break-up, Machina II/The Friends & Enemies of Modern Music, was released in September 2000 in a limited pressing on vinyl with permission and instructions for free redistribution on the Internet by fans. Only twenty-five copies were cut, each of which was hand numbered and given to friends of the band along with band members themselves. The album, released under the Constantinople Records label created by Corgan, consisted of one double LP and three ten-inch EPs. Originally, the band asked Virgin to offer Machina II as a free download to anyone who bought Machina. When the record label declined, Corgan opted to release the material independently.
On December 2, 2000, Smashing Pumpkins played a farewell concert at The Metro, the same Chicago club where their career had effectively started twelve years earlier. The four-and-a-half-hour-long show featured 35 songs spanning the group's career, and attendees were given a recording of the band's first concert at The Metro, Live at Cabaret Metro 10-5-88. The single "Untitled" was released commercially to coincide with the farewell show.
Post-breakup: 2001–2004
In 2001 the compilation Rotten Apples was released. The double-disc version of the album, released as a limited edition, included a collection of B-sides and rarities called Judas O. The Greatest Hits Video Collection DVD was also released at the same time. This was a compilation of all of the Pumpkins promo videos from Gish to Machina along with unreleased material. Vieuphoria was released on DVD in 2002, as was the soundtrack album Earphoria, previously released solely to radio stations in 1994.
Billy Corgan and Jimmy Chamberlin reunited in 2001 as members of Corgan's next project, the short-lived supergroup Zwan. The group's only album, Mary Star of the Sea, was released in 2003. After cancelling a few festival appearances, Corgan announced the demise of the band in 2003. During 2001 Corgan also toured as part of New Order and provided vocals on their comeback album Get Ready. In October 2004 Corgan released his first book, Blinking with Fists, a collection of poetry. In June 2005, he released a solo album, TheFutureEmbrace, which he described as "(picking) up the thread of the as-yet-unfinished work of the Smashing Pumpkins". Despite this, it was greeted with generally mixed reviews and lackluster sales. Only one single, "Walking Shade", was released in support of the album.
In addition to drumming with Zwan, Jimmy Chamberlin also formed an alternative rock/jazz fusion project band called Jimmy Chamberlin Complex. The group released an album in 2005 titled Life Begins Again. Corgan provided guest vocals on the track "Lokicat". James Iha served as a guitarist in A Perfect Circle, appearing on their Thirteenth Step club tour and 2004 album, eMOTIVe. He has also been involved with other acts such as Chino Moreno's Team Sleep and Vanessa and the O's. He continues to work with Scratchie Records, his own record label, as well. D'arcy Wretzky has, aside from one radio interview in 2009, not made any public statements or appearances nor given any interviews since leaving the band in 1999. On January 25, 2000, she was arrested after she allegedly purchased three bags of cocaine, but after successfully completing a court-ordered drug education program, the charges were dropped.
Corgan insisted during this period that the band would not reform, although when Zwan broke up he announced, "I think my heart was in Smashing Pumpkins […] I think it was naive of me to think that I could find something that would mean as much to me." Corgan said in 2005, "I never wanted to leave the Smashing Pumpkins. That was never the plan." On February 17, 2004, Corgan posted a message on his personal blog calling Wretzky a "mean-spirited drug addict" and blaming Iha for the breakup of the Smashing Pumpkins. On June 3, 2004, he added that "the depth of my hurt [from Iha] is only matched with the depth of my gratitude". Iha responded to Corgan's claims in 2005, saying, "No, I didn't break up the band. The only person who could have done that is Billy."
Reformation and Zeitgeist: 2005–2008
On June 21, 2005, the day of the release of his first solo album TheFutureEmbrace, Corgan took out full-page advertisements in the Chicago Tribune and Chicago Sun-Times to announce that he planned to reunite the band. "For a year now", Corgan wrote, "I have walked around with a secret, a secret I chose to keep. But now I want you to be among the first to know that I have made plans to renew and revive the Smashing Pumpkins. I want my band back, and my songs, and my dreams". Corgan and Chamberlin were verified as participants in the reunion, but there was question as to whether other former members of the band would participate.
In April 2007 Iha and Auf der Maur separately confirmed that they were not taking part in the reunion. Chamberlin would later state that Iha and Wretzky "didn't want to be a part of" the reunion. The Smashing Pumpkins performed live for the first time since 2000 on May 22, 2007, in Paris, France. There, the band unveiled new touring members: guitarist Jeff Schroeder, bassist Ginger Reyes, and keyboardist Lisa Harriton. That same month, "Tarantula" was released as the first single from the band's forthcoming album. On July 7, the band performed at the Live Earth concert in New Jersey.
The band's new album, Zeitgeist, was released that same month on Reprise Records, entering the Billboard charts at number two and selling 145,000 copies in its first week. Zeitgeist received mixed reviews, with much of the criticism targeted at the absence of half of the original lineup. The album divided the Pumpkins' fanbase. Corgan would later admit, "I know a lot of our fans are puzzled by Zeitgeist. I think they wanted this massive, grandiose work, but you don't just roll out of bed after seven years without a functioning band and go back to doing that".
Corgan and Chamberlin continued to record as a duo, releasing the four-song EP American Gothic in January 2008 and the singles "Superchrist" and "G.L.O.W." later that year. That November, the group released the DVD If All Goes Wrong, which chronicled the group's 2007 concert residences in Asheville, North Carolina and San Francisco, California. In late 2008, the band commenced on a controversy-riddled 20th Anniversary Tour. Around this time, Corgan said the group will make no more full-length records in order to focus exclusively on singles, explaining, "The listening patterns have changed, so why are we killing ourselves to do albums, to create balance, and do the arty track to set up the single? It's done."
Teargarden and Oceania: 2009–2013
In March 2009 Corgan announced on the band's website that Chamberlin had left the group and would be replaced. Chamberlin subsequently stated that his departure from the band is "a positive move forward for me. I can no longer commit all of my energy into something that I don't fully possess." Chamberlin stressed that the split was amicable, commenting, "I am glad [Corgan] has chosen to continue under the name. It is his right." Chamberlin soon formed the band Skysaw, which has released an album and toured in support of Minus the Bear. In July 2009 Billy Corgan formed a new group called Spirits in the Sky, initially as a tribute band to Sky Saxon of the Seeds, who had recently died. The following month Corgan confirmed on the band's website that 19-year-old Spirits in the Sky drummer Mike Byrne had replaced Chamberlin and that the pair was working on new Pumpkins recordings.
The group announced plans to release a 44-track concept album, Teargarden by Kaleidyscope, for free over the Internet one track at a time. The first track, "A Song for a Son", was released in December 2009 to moderate press acclaim. In March 2010 Ginger Reyes officially left the band, prompting an open call for auditions for a new bassist. In May, Nicole Fiorentino announced she had joined the band as bass player, and would be working on Teargarden by Kaleidyscope. The new lineup went on a world tour through to the end of 2010. One of the first shows with the new lineup was a concert to benefit Matthew Leone, bassist for the rock band Madina Lake, at the Metro on July 27, 2010. In late 2010 all four members contributed to the sessions for the third volume of Teargarden.
On April 26, 2011, Corgan announced that the Smashing Pumpkins would be releasing a new album titled Oceania, which he labeled as "an album within an album" in regards to the Teargarden by Kaleidyscope project, in the fall. As with the previous recording sessions, all four band members contributed to the project. Also, the entire album catalog was to be remastered and reissued with bonus tracks, starting with Gish and Siamese Dream in November 2011. The pre-Gish demos, Pisces Iscariot, and Mellon Collie and the Infinite Sadness were released in 2012, with The Aeroplane Flies High released the following year. Adore was released in 2014, and Machina/The Machines of God and the yet commercially unreleased Machina II/Friends and Enemies of Modern Music are expected to be combined, remixed, and released in the same year. The band did a thirteen-city US tour in October 2011 followed by a European tour in November and December.
Oceania was released on June 19, 2012, and received generally positive reviews. The album debuted at No. 4 on the Billboard 200 and at No. 1 on the Billboard Independent. The album spawned two singles, "The Celestials" and "Panopticon". The band proceeded to tour in support of the album, including a US tour involving playing the album in its entirety. By September 2012, Corgan stated that the band had already begun work on their next album. However, despite this, the band concentrated on touring, playing at Glastonbury Festival, Dour Festival and the Barclays Center, where they recorded Oceania: Live in NYC, which was released on September 24, 2013.
Monuments to an Elegy: 2014–2016
On March 25, 2014, Corgan announced he had signed a new record deal with BMG, for two new albums, titled Monuments to an Elegy and Day for Night, respectively. In June, it was revealed that Mike Byrne was no longer in the band, to be replaced by Tommy Lee of Mötley Crüe on the new album, and Fiorentino would not be recording on the album either. Monuments to an Elegy was released on December 5, 2014, to generally positive reviews. The band toured in support of the album starting on November 26, with Rage Against the Machine's Brad Wilk filling in on drums and the Killers' Mark Stoermer filling in on bass. The follow-up proposed album Day For Night was cited for delayed late 2015 or early 2016 release.
Later in 2015 Corgan announced that the band would embark on a co-headlining tour of North America with Marilyn Manson, "The End Times Tour", across July and August 2015. Prior to the co-headlining dates, the band performed a series of acoustic shows with drum machines and tapes for percussion. When the time came for the co-headlining tour, plans for a drummer fell through and Corgan recruited Chamberlin to reunite for the shows. On February 1, 2016, it was announced that the band would continue their In Plainsong acoustic tour with Jimmy Chamberlin on drums and were planning to head "straight to the studio after the dates to record a brand new album inspired by the sounds explored in the new acoustic setting". On February 25, 2016, Corgan posted a video from a Los Angeles studio on the band's Facebook account, giving an update on the writing process for the new songs for the upcoming album to be released after the In Plainsong tour.
The tour began in Portland, Oregon, on March 22, 2016.
Iha and Chamberlin's return; Shiny and Oh So Bright and Cyr: 2018–present
On his birthday on March 26, 2016, original guitarist James Iha joined Billy Corgan, Jimmy Chamberlin, and Jeff Schroeder on stage unannounced at the Ace Hotel in downtown Los Angeles. He performed a few songs, including "Mayonaise", "Soma" and "Whir" marking his first appearance with the Smashing Pumpkins in 16 years. Iha also played at the second of the two Smashing Pumpkins shows at the Ace Hotel the following day, which was Easter Sunday. Iha joined the Pumpkins for a third time at their concert of April 14 at the Civic Opera House in Chicago. In July, Corgan began hinting of the possibility of reuniting the band original lineup, of himself, Iha, Wretzky, and Chamberlin, and in August, he stated he had begun reaching out to the original lineup about the feasibility of a reunion, including speaking to Wretzky for the first time in sixteen years. Despite the comments, Corgan would spend much of 2017 working on solo material – recording and releasing the solo album Ogilala and beginning work on another solo album for 2018. In June 2017 Chamberlin also mentioned the possibility of a reunion tour in 2018. In January 2018 Corgan shared a photo of himself, Iha, and Chamberlin together in recording studio. In February 2018 Corgan announced that he was working with music producer Rick Rubin on a future Smashing Pumpkins album, that there were currently 26 songs he was actively working on, and that "the guitar feels once again like the preferred weapon of choice." Soon afterwards, Corgan shared a photo of sound equipment with Iha's name on a label, as well as announcing recording was finished on the album.
On February 15, 2018, the band officially announced that founding members Iha and Chamberlin were back in the band. They embarked on the Shiny And Oh So Bright Tour starting in July, with a focus on performing material from their first five studio albums. and sold over 350,000 tickets and sold out arenas including The Forum, United Center, and Madison Square Garden. Original bassist D'arcy Wretzky claimed she had been offered a contract to rejoin the band but Corgan rescinded the offer soon after. Corgan released a statement denying the claims, stating "Ms. Wretzky has repeatedly been invited out to play with the group, participate in demo sessions, or at the very least, meet face-to-face, and in each and every instance she always deferred". Jack Bates (son of Joy Division bassist Peter Hook) played bass on the tour. Bates previously toured with the Smashing Pumpkins in 2015. Multi-instrumentalist Katie Cole rejoined the band for the tour as well, singing backup vocals and playing keyboards and guitar.
In March 2018, Corgan mentioned the band planned to release two EPs in 2018, with the first tentatively planned for May. On June 8, 2018, the first single from the set of music, "Solara", was released. On August 2, 2018, the band celebrated their 30th anniversary by performing in Holmdel, New Jersey. with several notable special guests including Courtney Love, Chino Moreno, Davey Havok, Peter Hook, Mark McGrath, and Dave Keuning and Mark Stoermer of The Killers. In September 2018, they announced the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun., released via Napalm Records on November 16, 2018, which debuted at number 54 on the Billboard 200 chart.
After touring through much of 2019, Corgan noted in January 2020 that the band was currently working on 21 songs for a future album release. On August 28, 2020, the band released the single and video for "Cyr", along with a second track titled "The Colour of Love" from their album Cyr, which was released through their new record label Sumerian Records on November 27, 2020. It serves as the second part of the Shiny and Oh So Bright series. On September 25, 2020, the band released another single from Cyr that included the songs "Confessions of a Dopamine Addict" and "Wrath". On October 9, 2020, the band released a third single for Cyr that featured the tracks "Anno Satana" and "Birch Grove". On October 29, the band released "Ramona" and "Wyttch" as the fourth pair of singles. On November 20, 2020, the songs "Purple Blood" and "Dulcet in E" were released as the fifth and final single for Cyr. The following week, on November 27, 2020, the band released Cyr. Despite never getting to properly tour Cyr, the band did play four songs from the album at their headlining shows at Riot Fest and Sea.Hear.Now Festival in September 2021.
In late 2020, Corgan announced that the band would begin work on another double album for release in 2021, although the year passed without the album releasing. The double album is to serve as a sequel to the overarching story of Mellon Collie and the Infinite Sadness and Machina: The Machines of God. On February 22, the band announced on social media the Rock Invasion 2 Tour, which had previously been set to take place in spring 2020, but had been postponed to fall 2020 and subsequently canceled due to the COVID-19 pandemic. The newly announced incarnation of the tour had entirely new locations spanning 11 US cities accompanying the band's spring festival appearances and four performances in Mexico, their first since 2013.
Musical style, influences, and legacy
The direction of the band is dominated by lead guitarist, lead vocalist, keyboardist, bassist and principal songwriter Billy Corgan. Journalist Greg Kot wrote, "The music [of the Smashing Pumpkins] would not be what it is without his ambition and vision, and his famously fractured relationships with his family, friends, and bandmembers." Melissa Auf der Maur commented upon news of the group's reunion, "Everyone knows Billy doesn't need too many people to make a Pumpkins record, other than Jimmy [Chamberlin]—who he has on board." In a 2015 interview Corgan himself referred to the current iteration of the band "as sort of an open source collective" noting that "It's whoever feels right at the time." Many of Corgan's lyrics for the Pumpkins are cathartic expressions of emotion, full of personal musings and strong indictments of himself and those close to him. Music critics were not often fans of Corgan's angst-filled lyrics. Jim DeRogatis wrote in a 1993 Chicago Sun-Times article that Corgan's lyrics "too often sound like sophomoric poetry", although he viewed the lyrics of later albums Adore and Machina as an improvement. The band's songs have been described as "anguished, bruised reports from Billy Corgan's nightmare-land" by journalist William Shaw.
Smashing Pumpkins, unlike many alternative rock bands at the time, disavowed the influence of punk rock on their sound. Overall, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and electronica in later recordings.
The Smashing Pumpkins' distinctive sound up until Adore involved layering numerous guitar tracks onto a song during the recording process, a tactic that Mellon Collie and the Infinite Sadness coproducer Flood called the "Pumpkin guitar overdub army." Although there were a lot of overdubbed parts on Gish, Corgan began to really explore the possibilities of overdubbing with Siamese Dream; Corgan has stated that "Soma" alone contains up to 40 overdubbed guitar parts. While Corgan knew many of the songs would be difficult or impossible to replicate from their recorded versions in concert (in fact, some songs were drastically altered for live performance), he has explained the use of overdubbing by posing the question "When you are faced with making a permanent recorded representation of a song, why not endow it with the grandest possible vision?" This use of multilayered sounds was inspired by Corgan's love of 1970s popular artists & bands such as: David Bowie, Cheap Trick, Queen, Boston, and the Electric Light Orchestra, as well as shoegaze, a British alternative rock style of the late 1980s and early 1990s that relied on swirling layers of guitar noise for effect. Mellon Collie coproducer Alan Moulder was originally hired to mix Siamese Dream because Corgan was a fan of his work producing shoegaze bands such as My Bloody Valentine, Ride, and Slowdive.
Like many contemporary alternative bands, the Smashing Pumpkins utilized shifts in song dynamics, going from quiet to loud and vice versa. Hüsker Dü's seminal album Zen Arcade demonstrated to the band how they could place gentler material against more aggressive fare, and Corgan made such shifts in dynamics central to the pursuit of his grand musical ambitions. Corgan said he liked the idea of creating his own alternative universe through sound that essentially tells the listener, "Welcome to Pumpkin Land, this is what it sounds like on Planet Pumpkin." This emphasis on atmosphere carried through to Adore (described as "arcane night music" in prerelease promotion) and the Machina albums (concept records that tell the story of a fictional rock band).
The Pumpkins drew inspiration from a variety of other genres, some unfashionable during the 1990s among music critics. Corgan in particular was open about his appreciation of heavy metal, citing Dimebag Darrell of Pantera as his favorite contemporary guitarist. When one interviewer commented to Corgan and Iha that "Smashing Pumpkins is one of the groups that relegitimized heavy metal" and that they "were among the first alternative rockers to mention people like Ozzy and Black Sabbath with anything other than contempt". Corgan went on to rave about Black Sabbath's Master of Reality and Judas Priest's Unleashed in the East. The song "Zero", which reminded Iha of Judas Priest, is an example of what the band dubbed "cybermetal." Post-punk and gothic rock bands like Joy Division/New Order, Bauhaus, the Cure, and Depeche Mode were formative influences on the band, which covered such artists in concert and on record. Corgan also cited Siouxsie and the Banshees saying it was important to point back to bands that influenced them. Psychedelic rock was also referenced often in the band's early recordings; according to Corgan, "In typical Pumpkins fashion, no one at that point really liked loud guitars or psychedelic music so, of course, that's exactly what we had to do." Corgan felt that the band's guitars "are a mixture of heavy metal and 80s alternative rock. I think of Cure and Siouxsie and the Banshees". Corgan acknowledged that a chord he jokingly claimed as "the Pumpkin chord" (a G# octave chord at the eleventh fret of a guitar with the low E string played over it), used as the basis for "Cherub Rock", "Drown", and other songs, was in fact previously used by Jimi Hendrix. Other early influences cited by Corgan include Cream, the Stooges, and Blue Cheer.
Regarding the band's influence upon other groups, Greg Kot wrote in 2001, "Whereas Nirvana spawned countless mini-Nirvanas, the Pumpkins remain an island unto themselves." Still, some artists and bands have been influenced by the Pumpkins, such as Nelly Furtado, Marilyn Manson, Third Eye Blind, Mark Hoppus of Blink-182, Tegan and Sara, Fall Out Boy, Rivers Cuomo, Panic! at the Disco, Silversun Pickups, and My Chemical Romance. My Chemical Romance vocalist Gerard Way has said that they pattern their career upon the Pumpkins', including music videos. The members of fellow Chicago band Kill Hannah are friends with Corgan, and lead singer Mat Devine has compared his group to the Pumpkins.
The group has sold over 30 million albums worldwide as of October 2012, and sales in the United States alone reaching 19.75 million.
Music videos
The Smashing Pumpkins have been praised as "responsible for some of the most striking and memorable video clips" and for having "approached videos from a completely artistic standpoint rather than mere commercials to sell albums". MTV's 2001 anniversary special Testimony: 20 Years of Rock on MTV credited the Pumpkins, along with Nine Inch Nails, with treating music videos as an art form during the 1990s. Corgan has said, "We generally resisted the idea of what I call the classic MTV rock video, which is like lots of people jumping around and stuff." The band worked with video directors including Kevin Kerslake ("Cherub Rock"), Samuel Bayer ("Bullet with Butterfly Wings"), and, most frequently, the team of Jonathan Dayton and Valerie Faris ("Rocket", "1979", "Tonight, Tonight", "The End Is the Beginning Is the End", and "Perfect"). Corgan, who was frequently heavily involved in the conception of the videos, said of Dayton and Faris, "I know my [initial] versions are always darker, and they're always talking me into something a little kinder and gentler." Videos like "Today", "Rocket", and "1979" dealt with images taken from middle American culture, albeit exaggerated. The group's videos so often avoid the literal interpretation of the song lyrics that the video for "Thirty-Three", with images closely related to the words of the song, was created as an intentional stylistic departure.
The band was nominated for several MTV Video Music Awards during the 1990s. In 1996, the group won eight VMAs total for the "1979" and "Tonight, Tonight" videos, including the top award, Video of the Year, for "Tonight, Tonight". The video was also nominated for a Grammy at the 1997 ceremony. Of the "Tonight, Tonight" video, Corgan remarked, "I don't think we've ever had people react [like this]... it just seemed to touch a nerve."
Shortly after the band's 2000 breakup, the Greatest Hits Video Collection was released, collecting the band's music videos from 1991 to 2000 and including commentary from Corgan, Iha, Chamberlin, Wretzky, and various music video directors with outtakes, live performances, and the extended "Try, Try, Try" short film.
Band members
Current members
Billy Corgan – lead vocals, guitars, keyboards, bass guitar (1988–2000, 2006–present)
James Iha – guitars, bass guitar, vocals (1988–2000, 2018–present)
Jimmy Chamberlin – drums (1988–1996, 1998–2000, 2006–2009, 2015–present)
Jeff Schroeder – guitars, keyboards (2007–present)
Live members
Jack Bates – bass guitar (2015–present)
Katie Cole – keyboards, backing vocals (2015–present)
Former members
D'arcy Wretzky – bass guitar, backing vocals (1988–1999)
Melissa Auf der Maur – bass guitar (1999–2000)
Mike Byrne – drums, backing vocals, keyboards (2009–2014)
Nicole Fiorentino – bass guitar, backing vocals, keyboards (2010–2014)
Awards
American Music Awards
1997 – Best Alternative Artist
Grammy Awards
1997 – "Bullet with Butterfly Wings" – Best Hard Rock Performance
1998 – "The End Is the Beginning Is the End" – Best Hard Rock Performance
MTV Europe Music Awards
1996 – Best Rock
MTV Video Music Awards
1996 – "Tonight, Tonight" – Video of the Year, Breakthrough Video, Best Direction, Best Visual Effects, Best Art Direction, Best Cinematography
1996 – "1979" – Best Alternative Video
Discography
Studio albums
Gish (1991)
Siamese Dream (1993)
Mellon Collie and the Infinite Sadness (1995)
Adore (1998)
Machina/The Machines of God (2000)
Machina II/The Friends & Enemies of Modern Music (2000)
Zeitgeist (2007)
Oceania (2012)†
Monuments to an Elegy (2014)†
Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018)
Cyr (2020)
Notes
† Part of Teargarden by Kaleidyscope (2009–2014), an overarching project abandoned before completion.
See also
List of artists who reached number one on the U.S. alternative rock chart
Notes
References
Bibliography
Further reading
External links
1988 establishments in Illinois
Alternative rock groups from Chicago
Articles which contain graphical timelines
Caroline Records artists
Grammy Award winners
MTV Europe Music Award winners
Musical groups established in 1988
Musical groups disestablished in 2000
Musical groups reestablished in 2006
Musical quartets
American musical trios
Reprise Records artists
Sumerian Records artists
Virgin Records artists
Musical groups from Chicago
| false |
[
"The 23rd Fangoria Chainsaw Awards is an award ceremony presented for horror films that were released in 2020. The nominees were announced on January 20, 2021. The film The Invisible Man won five of its five nominations, including Best Wide Release, as well as the write-in poll of Best Kill. Color Out Of Space and Possessor each took two awards. His House did not win any of its seven nominations. The ceremony was exclusively livestreamed for the first time on the SHUDDER horror streaming service.\n\nWinners and nominees\n\nReferences\n\nFangoria Chainsaw Awards",
"The 49th Primetime Emmy Awards were held at the Pasadena Civic Auditorium in Pasadena, California in 1997. They were presented in two ceremonies hosted by Bryant Gumbel, one on Saturday, September 13 and another on Sunday, September 14. The September 14th ceremony was televised on CBS.\n\nFrasier became the first series to win Outstanding Comedy Series four consecutive years, it joined Hill Street Blues which won Outstanding Drama Series four straight years a decade earlier. For the first time since 1979, James Burrows did not receive a Directing nomination, ending his run at 17 consecutive years. Beginning the following year, Burrows would begin a new streak that lasted another six years. In the drama field perennial nominee Law & Order won for its seventh season, the first time a show had won for this specific season. In winning Law & Order became the first drama series that did not have serialized story arcs since Hill Street Blues perfected the formula. Law & Order remains the only non-serialized winner since 1981.\n\nFor the first time, not only did the Fox Network win the Lead Actress, Drama award, with Gillian Anderson, for The X-Files, but hers was also the network's first win in any of the Major Acting categories. (Laurence Fishburne and Peter Boyle won for Fox in only guest performances. The latter of which was for The X-Files just the year before.)\n\nThis ceremony marked the end of a 20-year residency for the Primetime Emmy Awards at the Pasadena Civic Auditorium dating back to the 29th Primetime Emmy Awards in 1977 ceremony.\n\nThis is the most recent year in which the Big Four Networks (ABC, CBS, FOX, and NBC) took home the top 14 Emmys (Comedy and Drama Series, Actor, Actress, Supporting Actor, Supporting Actress in Comedy and Drama, and Directing and Writing for Comedy and Drama).\n\nThe Larry Sanders Show had 16 nominations and zero wins, tying the record with Northern Exposure in 1993 and becoming the first (and only to date) comedy series to set the record. These records with later be broken by Mad Men in 2012 with 17 nominations and without a single win and The Handmaid's Tale in 2021 with 21 nominations and without a single win.\n\nWinners and nominees\n\nPrograms\n\nActing\n\nLead performances\n\nSupporting performances\n\nGuest performances\n\nDirecting\n\nWriting\n\nMost major nominations\nBy network \n NBC – 50\n HBO – 41\n CBS – 21\n ABC – 19\n\nBy program\n ER (NBC) – 14\n The Larry Sanders Show (HBO) – 12\n NYPD Blue (ABC) – 8\n Seinfeld (NBC) – 7\n Chicago Hope (CBS) / Frasier (NBC) / Mad About You (NBC) / Miss Evers' Boys (HBO) – 6\n\nMost major awards\nBy network \n NBC – 11\n HBO – 7\n ABC – 6\n CBS – 2\n PBS – 2\n\nBy program\n NYPD Blue (ABC) – 4\n\nNotes\n\nReferences\n\nExternal links\n Emmys.com list of 1997 Nominees & Winners\n \n\n049\nPrimetime Emmy Awards\n1997 in California\nEvents in Pasadena, California\nSeptember 1997 events in the United States\n20th century in Pasadena, California"
] |
[
"The Smashing Pumpkins",
"Mainstream breakout: 1992-1994",
"How did the smashing pumpkins Breakout in 1992?",
"Amid this environment of intense internal pressure for the band to break through to widespread popularity,",
"did they publish any albums during this time?",
"late 1992 to begin work on their second album, with Butch Vig returning as producer.",
"what as the name of their second album?",
"The recording environment for Siamese Dream was quickly marred by discord within the band.",
"Did they end up producing this album?",
"In all, it took over four months to complete the record, with the budget exceeding $250,000.",
"How well was it received?",
"Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone.",
"Did they win any awards during this time?",
"I don't know."
] |
C_27a494717f8d47cfa84878b93037e00f_0
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Are there any other interesting aspects about this article?
| 7 |
Are there any other interesting aspects about this article besides The Smashing Pumpkins' second album?
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The Smashing Pumpkins
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With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'." Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000. Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Husker Du frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world". In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album. CANNOTANSWER
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the band's reputation as careerists among their former peers in the independent music community was worsened.
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The Smashing Pumpkins (or Smashing Pumpkins) are an American alternative rock band from Chicago. Formed in 1988 by frontman Billy Corgan (lead vocals, guitar), D'arcy Wretzky (bass), James Iha (guitar), and Jimmy Chamberlin (drums), the band has undergone many line-up changes. The current lineup features Corgan, Chamberlin, Iha and guitarist Jeff Schroeder.
Disavowing the punk rock roots of many of their alt-rock contemporaries, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and, in later recordings, electronica. Corgan is the group's primary songwriter; his musical ambitions and cathartic lyrics have shaped the band's albums and songs, which have been described as "anguished, bruised reports from Billy Corgan's nightmare-land".
The Smashing Pumpkins broke into the musical mainstream with their second album, 1993's Siamese Dream. The group built its audience with extensive touring and their 1995 follow-up, the double album Mellon Collie and the Infinite Sadness, debuted at number one on the Billboard 200 album chart. With 30 million albums sold worldwide, the Smashing Pumpkins were one of the most commercially successful and critically acclaimed bands of the 1990s. However, internal fighting, drug use, and diminishing record sales led to a 2000 break-up.
In 2006, Corgan and Chamberlin reconvened to record a new Smashing Pumpkins album, Zeitgeist. After touring throughout 2007 and 2008 with a lineup including new guitarist Jeff Schroeder, Chamberlin left the band in early 2009. Later that year, Corgan began a new recording series with a rotating lineup of musicians entitled Teargarden by Kaleidyscope, which encompassed the release of stand-alone singles, compilation EP releases, and two full albums that also fell under the project's scope—Oceania in 2012 and Monuments to an Elegy in 2014. Chamberlin and Iha officially rejoined the band in February 2018. The reunited lineup released the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. in November 2018 and Cyr in November 2020.
History
Early years: 1988–1991
After the breakup of his gothic rock band The Marked, singer and guitarist Billy Corgan left St. Petersburg, Florida, to return to his native city of Chicago, where he took a job in a record store and formed the idea of a new band to be called the Smashing Pumpkins. While working there, he met guitarist James Iha. Adorning themselves with paisley and other psychedelic trappings, the two began writing songs together (with the aid of a drum machine) that were heavily influenced by the Cure and New Order. The duo performed live for the first time on July 9, 1988 at the Polish bar Chicago 21. This performance included only Corgan on bass and Iha on guitar with a drum machine. Shortly thereafter, Corgan met D'arcy Wretzky after a show by the Dan Reed Network where they argued the merits of the band. After finding out Wretzky played bass guitar, Corgan recruited her into the lineup, and the trio played a show at the Avalon Nightclub. After this show, Cabaret Metro owner Joe Shanahan agreed to book the band on the condition that they replace the drum
machine with a live drummer.
Jazz drummer Jimmy Chamberlin was recommended by a friend of Corgan's. Chamberlin knew little of alternative music and immediately changed the sound of the nascent band. As Corgan recalled of the period, "We were completely into the sad-rock, Cure kind of thing. It took about two or three practices before I realized that the power in his playing was something that enabled us to rock harder than we could ever have imagined." On October 5, 1988, the complete band took the stage for the first time at the Cabaret Metro.
In 1989, the Smashing Pumpkins made their first appearance on record with the compilation album Light Into Dark, which featured several Chicago alternative bands. The group released its first single, "I Am One", in 1990 on local Chicago label Limited Potential. The single sold out and they released a follow-up, "Tristessa", on Sub Pop, after which they signed to Caroline Records. The band recorded their 1991 debut studio album Gish with producer Butch Vig at his Smart Studios in Madison, Wisconsin for $20,000. In order to gain the consistency he desired, Corgan often played all instruments excluding drums, which created tension in the band. The music fused heavy metal guitars, psychedelia, and dream pop, garnering them comparisons to Jane's Addiction. Gish became a minor success, with the single "Rhinoceros" receiving some airplay on modern rock radio. After releasing the Lull EP in October 1991 on Caroline Records, the band formally signed with Virgin Records, which was affiliated with Caroline. The band supported the album with a tour that included opening for bands such as the Red Hot Chili Peppers, Jane's Addiction, and Guns N' Roses. During the tour, Iha and Wretzky went through a messy breakup, Chamberlin became addicted to narcotics and alcohol, and Corgan entered a deep depression, writing some songs for the upcoming album in the parking garage where he lived at the time.
Mainstream breakout and Siamese Dream: 1992–1994
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'."
Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000.
Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Hüsker Dü frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world".
In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album.
Mellon Collie and the Infinite Sadness: 1995–1997
During 1995, Corgan wrote about 56 songs, following which the band went into the studio with producers Flood and Alan Moulder to work on what Corgan described as "The Wall for Generation X", and which became Mellon Collie and the Infinite Sadness, a double album of twenty-eight songs, lasting over two hours (the vinyl version of the album contained three records, two extra songs, and an alternate track listing). The songs were intended to hang together conceptually as a symbol of the cycle of life and death. Praised by Time as "the group's most ambitious and accomplished work yet", Mellon Collie debuted at number one on the Billboard 200 in October 1995. Even more successful than Siamese Dream, it was certified ten times platinum in the United States and became the best-selling double album of the decade. It also garnered seven 1997 Grammy Award nominations, including Album of the Year. The band won only the Best Hard Rock Performance award, for the album's lead single "Bullet with Butterfly Wings". The album spawned five singles—"Bullet with Butterfly Wings", "1979", "Zero", "Tonight, Tonight" which Corgan stated was inspired by the Cheap Trick song "I'll Be with You Tonight", and "Thirty-Three"—of which the first three were certified gold and all but "Zero" entered the Top 40. Many of the songs that did not make it onto Mellon Collie were released as B-sides to the singles, and were later compiled in The Aeroplane Flies High box set. The set was originally limited to 200,000 copies, but more were produced to meet demand.
In 1996 the Pumpkins undertook an extended world tour in support of Mellon Collie. Corgan's look during this period—a shaved head, a long sleeve black shirt with the word "Zero" printed on it, and silver pants—became iconic. That year, the band also made a guest appearance in an episode of The Simpsons, "Homerpalooza". With considerable video rotation on MTV, major industry awards, and "Zero" shirts selling in many malls, the Pumpkins were considered one of the most popular bands of the time.
In May, the Smashing Pumpkins played a gig at the Point Theatre in Dublin, Ireland. Despite the band's repeated requests for moshing to stop, a seventeen-year-old fan named Bernadette O'Brien was crushed to death. The concert ended early and the following night's performance in Belfast was cancelled out of respect for her. However, while Corgan maintained that moshing's "time [had] come and gone", the band would continue to request open-floor concerts throughout the rest of the tour.
The band suffered a personal tragedy on the night of July 11, 1996, when touring keyboardist Jonathan Melvoin and Chamberlin overdosed on heroin in a hotel room in New York City. Melvoin died, and Chamberlin was arrested for drug possession. A few days later, the band announced that Chamberlin had been fired as a result of the incident. The Pumpkins chose to finish the tour, and hired drummer Matt Walker and keyboardist Dennis Flemion. Corgan later said the decision to continue touring was the worst decision the band had ever made, damaging both their music and their reputation. Chamberlin admitted in a 1994 Rolling Stone cover story that in the past he'd "gotten high in every city in this country and probably half the cities in Europe." But in recent years, he had reportedly been clean. On July 17, the Pumpkins issued a statement in which they said, "For nine years we have battled with Jimmy's struggles with the insidious disease of drug and alcohol addiction. It has nearly destroyed everything we are and stand for. … We wish [him] the best we have to offer". Meanwhile, the band had given interviews since the release of Mellon Collie stating that it would be the last conventional Pumpkins record, and that rock was becoming stale. James Iha said at the end of 1996, "The future is in electronic music. It really seems boring just to play rock music."
Adore, Machina, and breakup: 1998–2000
After the release of Mellon Collie, the Pumpkins contributed many songs to various compilations. Released in early 1997, the song "Eye", which appeared on the soundtrack to David Lynch's Lost Highway, relied almost exclusively on electronic instruments and signaled a drastic shift from the Pumpkins' previous musical styles. At the time, Corgan stated his "idea [was] to reconfigure the focus and get away from the classic guitars-bass-drum rock format." Later that year, the group contributed "The End Is the Beginning Is the End" to the soundtrack for the film Batman & Robin. With Matt Walker on drums, the song featured a heavy sound similar to "Bullet with Butterfly Wings" while still having strong electronic influences. The song later won the 1998 Grammy for Best Hard Rock Performance. Though Corgan announced that the song represented the sound people could expect from the band in the future, the band's next album would feature few guitar-driven songs.
Recorded following the death of Corgan's mother and his divorce, 1998's Adore represented a significant change of style from the Pumpkins' previous guitar-based rock, veering into electronica. The record, cut with assistance from drum machines and studio drummers including Matt Walker, was infused with a darker aesthetic than much of the band's earlier work. The group also modified its public image, shedding its alternative rock look for a more subdued appearance. Although Adore received favorable reviews and was nominated for Best Alternative Performance at the Grammy Awards, the album had only sold about 830,000 copies in the United States by the end of the year. The album nonetheless debuted at number 2 on the Billboard 200 and sold three times as many copies overseas. The band began a seventeen-date, fifteen-city charity North American tour in support of Adore. At each stop on the tour, the band donated 100 percent of tickets sales to a local charity organization. The tour's expenses were entirely funded out of the band's own pockets. All told, the band donated over $2.8 million to charity as a result of the tour. On October 31, 1998 during Halloween, the band opened for Kiss at Dodger Stadium in Los Angeles, dressed in costume as The Beatles.
In 1999 the band surprised fans by reuniting with a rehabilitated Jimmy Chamberlin for a brief tour dubbed "The Arising", which showcased both new and classic material. The lineup was short-lived, however, as the band announced the departure of Wretzky in September during work on the album Machina/The Machines of God. Former Hole bassist Melissa Auf der Maur was recruited for the "Sacred and Profane" tour in support of the album and appeared in the videos accompanying its release. Released in 2000, Machina was initially promoted as the Pumpkins' return to a more traditional rock sound, after the more gothic, electronic-sounding Adore. The album debuted at number three on the Billboard charts, but quickly disappeared and as of 2007 had only been certified gold. Music journalist Jim DeRogatis, who described the album as "one of the strongest of their career", noted that the stalled sales for Machina in comparison to teen pop ascendant at the time "seems like concrete proof that a new wave of young pop fans has turned a deaf ear toward alternative rock."
On May 23, 2000, in a live radio interview on KROQ-FM (Los Angeles), Billy Corgan announced the band's decision to break up at the end of that year following additional touring and recording. The group's final album before the break-up, Machina II/The Friends & Enemies of Modern Music, was released in September 2000 in a limited pressing on vinyl with permission and instructions for free redistribution on the Internet by fans. Only twenty-five copies were cut, each of which was hand numbered and given to friends of the band along with band members themselves. The album, released under the Constantinople Records label created by Corgan, consisted of one double LP and three ten-inch EPs. Originally, the band asked Virgin to offer Machina II as a free download to anyone who bought Machina. When the record label declined, Corgan opted to release the material independently.
On December 2, 2000, Smashing Pumpkins played a farewell concert at The Metro, the same Chicago club where their career had effectively started twelve years earlier. The four-and-a-half-hour-long show featured 35 songs spanning the group's career, and attendees were given a recording of the band's first concert at The Metro, Live at Cabaret Metro 10-5-88. The single "Untitled" was released commercially to coincide with the farewell show.
Post-breakup: 2001–2004
In 2001 the compilation Rotten Apples was released. The double-disc version of the album, released as a limited edition, included a collection of B-sides and rarities called Judas O. The Greatest Hits Video Collection DVD was also released at the same time. This was a compilation of all of the Pumpkins promo videos from Gish to Machina along with unreleased material. Vieuphoria was released on DVD in 2002, as was the soundtrack album Earphoria, previously released solely to radio stations in 1994.
Billy Corgan and Jimmy Chamberlin reunited in 2001 as members of Corgan's next project, the short-lived supergroup Zwan. The group's only album, Mary Star of the Sea, was released in 2003. After cancelling a few festival appearances, Corgan announced the demise of the band in 2003. During 2001 Corgan also toured as part of New Order and provided vocals on their comeback album Get Ready. In October 2004 Corgan released his first book, Blinking with Fists, a collection of poetry. In June 2005, he released a solo album, TheFutureEmbrace, which he described as "(picking) up the thread of the as-yet-unfinished work of the Smashing Pumpkins". Despite this, it was greeted with generally mixed reviews and lackluster sales. Only one single, "Walking Shade", was released in support of the album.
In addition to drumming with Zwan, Jimmy Chamberlin also formed an alternative rock/jazz fusion project band called Jimmy Chamberlin Complex. The group released an album in 2005 titled Life Begins Again. Corgan provided guest vocals on the track "Lokicat". James Iha served as a guitarist in A Perfect Circle, appearing on their Thirteenth Step club tour and 2004 album, eMOTIVe. He has also been involved with other acts such as Chino Moreno's Team Sleep and Vanessa and the O's. He continues to work with Scratchie Records, his own record label, as well. D'arcy Wretzky has, aside from one radio interview in 2009, not made any public statements or appearances nor given any interviews since leaving the band in 1999. On January 25, 2000, she was arrested after she allegedly purchased three bags of cocaine, but after successfully completing a court-ordered drug education program, the charges were dropped.
Corgan insisted during this period that the band would not reform, although when Zwan broke up he announced, "I think my heart was in Smashing Pumpkins […] I think it was naive of me to think that I could find something that would mean as much to me." Corgan said in 2005, "I never wanted to leave the Smashing Pumpkins. That was never the plan." On February 17, 2004, Corgan posted a message on his personal blog calling Wretzky a "mean-spirited drug addict" and blaming Iha for the breakup of the Smashing Pumpkins. On June 3, 2004, he added that "the depth of my hurt [from Iha] is only matched with the depth of my gratitude". Iha responded to Corgan's claims in 2005, saying, "No, I didn't break up the band. The only person who could have done that is Billy."
Reformation and Zeitgeist: 2005–2008
On June 21, 2005, the day of the release of his first solo album TheFutureEmbrace, Corgan took out full-page advertisements in the Chicago Tribune and Chicago Sun-Times to announce that he planned to reunite the band. "For a year now", Corgan wrote, "I have walked around with a secret, a secret I chose to keep. But now I want you to be among the first to know that I have made plans to renew and revive the Smashing Pumpkins. I want my band back, and my songs, and my dreams". Corgan and Chamberlin were verified as participants in the reunion, but there was question as to whether other former members of the band would participate.
In April 2007 Iha and Auf der Maur separately confirmed that they were not taking part in the reunion. Chamberlin would later state that Iha and Wretzky "didn't want to be a part of" the reunion. The Smashing Pumpkins performed live for the first time since 2000 on May 22, 2007, in Paris, France. There, the band unveiled new touring members: guitarist Jeff Schroeder, bassist Ginger Reyes, and keyboardist Lisa Harriton. That same month, "Tarantula" was released as the first single from the band's forthcoming album. On July 7, the band performed at the Live Earth concert in New Jersey.
The band's new album, Zeitgeist, was released that same month on Reprise Records, entering the Billboard charts at number two and selling 145,000 copies in its first week. Zeitgeist received mixed reviews, with much of the criticism targeted at the absence of half of the original lineup. The album divided the Pumpkins' fanbase. Corgan would later admit, "I know a lot of our fans are puzzled by Zeitgeist. I think they wanted this massive, grandiose work, but you don't just roll out of bed after seven years without a functioning band and go back to doing that".
Corgan and Chamberlin continued to record as a duo, releasing the four-song EP American Gothic in January 2008 and the singles "Superchrist" and "G.L.O.W." later that year. That November, the group released the DVD If All Goes Wrong, which chronicled the group's 2007 concert residences in Asheville, North Carolina and San Francisco, California. In late 2008, the band commenced on a controversy-riddled 20th Anniversary Tour. Around this time, Corgan said the group will make no more full-length records in order to focus exclusively on singles, explaining, "The listening patterns have changed, so why are we killing ourselves to do albums, to create balance, and do the arty track to set up the single? It's done."
Teargarden and Oceania: 2009–2013
In March 2009 Corgan announced on the band's website that Chamberlin had left the group and would be replaced. Chamberlin subsequently stated that his departure from the band is "a positive move forward for me. I can no longer commit all of my energy into something that I don't fully possess." Chamberlin stressed that the split was amicable, commenting, "I am glad [Corgan] has chosen to continue under the name. It is his right." Chamberlin soon formed the band Skysaw, which has released an album and toured in support of Minus the Bear. In July 2009 Billy Corgan formed a new group called Spirits in the Sky, initially as a tribute band to Sky Saxon of the Seeds, who had recently died. The following month Corgan confirmed on the band's website that 19-year-old Spirits in the Sky drummer Mike Byrne had replaced Chamberlin and that the pair was working on new Pumpkins recordings.
The group announced plans to release a 44-track concept album, Teargarden by Kaleidyscope, for free over the Internet one track at a time. The first track, "A Song for a Son", was released in December 2009 to moderate press acclaim. In March 2010 Ginger Reyes officially left the band, prompting an open call for auditions for a new bassist. In May, Nicole Fiorentino announced she had joined the band as bass player, and would be working on Teargarden by Kaleidyscope. The new lineup went on a world tour through to the end of 2010. One of the first shows with the new lineup was a concert to benefit Matthew Leone, bassist for the rock band Madina Lake, at the Metro on July 27, 2010. In late 2010 all four members contributed to the sessions for the third volume of Teargarden.
On April 26, 2011, Corgan announced that the Smashing Pumpkins would be releasing a new album titled Oceania, which he labeled as "an album within an album" in regards to the Teargarden by Kaleidyscope project, in the fall. As with the previous recording sessions, all four band members contributed to the project. Also, the entire album catalog was to be remastered and reissued with bonus tracks, starting with Gish and Siamese Dream in November 2011. The pre-Gish demos, Pisces Iscariot, and Mellon Collie and the Infinite Sadness were released in 2012, with The Aeroplane Flies High released the following year. Adore was released in 2014, and Machina/The Machines of God and the yet commercially unreleased Machina II/Friends and Enemies of Modern Music are expected to be combined, remixed, and released in the same year. The band did a thirteen-city US tour in October 2011 followed by a European tour in November and December.
Oceania was released on June 19, 2012, and received generally positive reviews. The album debuted at No. 4 on the Billboard 200 and at No. 1 on the Billboard Independent. The album spawned two singles, "The Celestials" and "Panopticon". The band proceeded to tour in support of the album, including a US tour involving playing the album in its entirety. By September 2012, Corgan stated that the band had already begun work on their next album. However, despite this, the band concentrated on touring, playing at Glastonbury Festival, Dour Festival and the Barclays Center, where they recorded Oceania: Live in NYC, which was released on September 24, 2013.
Monuments to an Elegy: 2014–2016
On March 25, 2014, Corgan announced he had signed a new record deal with BMG, for two new albums, titled Monuments to an Elegy and Day for Night, respectively. In June, it was revealed that Mike Byrne was no longer in the band, to be replaced by Tommy Lee of Mötley Crüe on the new album, and Fiorentino would not be recording on the album either. Monuments to an Elegy was released on December 5, 2014, to generally positive reviews. The band toured in support of the album starting on November 26, with Rage Against the Machine's Brad Wilk filling in on drums and the Killers' Mark Stoermer filling in on bass. The follow-up proposed album Day For Night was cited for delayed late 2015 or early 2016 release.
Later in 2015 Corgan announced that the band would embark on a co-headlining tour of North America with Marilyn Manson, "The End Times Tour", across July and August 2015. Prior to the co-headlining dates, the band performed a series of acoustic shows with drum machines and tapes for percussion. When the time came for the co-headlining tour, plans for a drummer fell through and Corgan recruited Chamberlin to reunite for the shows. On February 1, 2016, it was announced that the band would continue their In Plainsong acoustic tour with Jimmy Chamberlin on drums and were planning to head "straight to the studio after the dates to record a brand new album inspired by the sounds explored in the new acoustic setting". On February 25, 2016, Corgan posted a video from a Los Angeles studio on the band's Facebook account, giving an update on the writing process for the new songs for the upcoming album to be released after the In Plainsong tour.
The tour began in Portland, Oregon, on March 22, 2016.
Iha and Chamberlin's return; Shiny and Oh So Bright and Cyr: 2018–present
On his birthday on March 26, 2016, original guitarist James Iha joined Billy Corgan, Jimmy Chamberlin, and Jeff Schroeder on stage unannounced at the Ace Hotel in downtown Los Angeles. He performed a few songs, including "Mayonaise", "Soma" and "Whir" marking his first appearance with the Smashing Pumpkins in 16 years. Iha also played at the second of the two Smashing Pumpkins shows at the Ace Hotel the following day, which was Easter Sunday. Iha joined the Pumpkins for a third time at their concert of April 14 at the Civic Opera House in Chicago. In July, Corgan began hinting of the possibility of reuniting the band original lineup, of himself, Iha, Wretzky, and Chamberlin, and in August, he stated he had begun reaching out to the original lineup about the feasibility of a reunion, including speaking to Wretzky for the first time in sixteen years. Despite the comments, Corgan would spend much of 2017 working on solo material – recording and releasing the solo album Ogilala and beginning work on another solo album for 2018. In June 2017 Chamberlin also mentioned the possibility of a reunion tour in 2018. In January 2018 Corgan shared a photo of himself, Iha, and Chamberlin together in recording studio. In February 2018 Corgan announced that he was working with music producer Rick Rubin on a future Smashing Pumpkins album, that there were currently 26 songs he was actively working on, and that "the guitar feels once again like the preferred weapon of choice." Soon afterwards, Corgan shared a photo of sound equipment with Iha's name on a label, as well as announcing recording was finished on the album.
On February 15, 2018, the band officially announced that founding members Iha and Chamberlin were back in the band. They embarked on the Shiny And Oh So Bright Tour starting in July, with a focus on performing material from their first five studio albums. and sold over 350,000 tickets and sold out arenas including The Forum, United Center, and Madison Square Garden. Original bassist D'arcy Wretzky claimed she had been offered a contract to rejoin the band but Corgan rescinded the offer soon after. Corgan released a statement denying the claims, stating "Ms. Wretzky has repeatedly been invited out to play with the group, participate in demo sessions, or at the very least, meet face-to-face, and in each and every instance she always deferred". Jack Bates (son of Joy Division bassist Peter Hook) played bass on the tour. Bates previously toured with the Smashing Pumpkins in 2015. Multi-instrumentalist Katie Cole rejoined the band for the tour as well, singing backup vocals and playing keyboards and guitar.
In March 2018, Corgan mentioned the band planned to release two EPs in 2018, with the first tentatively planned for May. On June 8, 2018, the first single from the set of music, "Solara", was released. On August 2, 2018, the band celebrated their 30th anniversary by performing in Holmdel, New Jersey. with several notable special guests including Courtney Love, Chino Moreno, Davey Havok, Peter Hook, Mark McGrath, and Dave Keuning and Mark Stoermer of The Killers. In September 2018, they announced the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun., released via Napalm Records on November 16, 2018, which debuted at number 54 on the Billboard 200 chart.
After touring through much of 2019, Corgan noted in January 2020 that the band was currently working on 21 songs for a future album release. On August 28, 2020, the band released the single and video for "Cyr", along with a second track titled "The Colour of Love" from their album Cyr, which was released through their new record label Sumerian Records on November 27, 2020. It serves as the second part of the Shiny and Oh So Bright series. On September 25, 2020, the band released another single from Cyr that included the songs "Confessions of a Dopamine Addict" and "Wrath". On October 9, 2020, the band released a third single for Cyr that featured the tracks "Anno Satana" and "Birch Grove". On October 29, the band released "Ramona" and "Wyttch" as the fourth pair of singles. On November 20, 2020, the songs "Purple Blood" and "Dulcet in E" were released as the fifth and final single for Cyr. The following week, on November 27, 2020, the band released Cyr. Despite never getting to properly tour Cyr, the band did play four songs from the album at their headlining shows at Riot Fest and Sea.Hear.Now Festival in September 2021.
In late 2020, Corgan announced that the band would begin work on another double album for release in 2021, although the year passed without the album releasing. The double album is to serve as a sequel to the overarching story of Mellon Collie and the Infinite Sadness and Machina: The Machines of God. On February 22, the band announced on social media the Rock Invasion 2 Tour, which had previously been set to take place in spring 2020, but had been postponed to fall 2020 and subsequently canceled due to the COVID-19 pandemic. The newly announced incarnation of the tour had entirely new locations spanning 11 US cities accompanying the band's spring festival appearances and four performances in Mexico, their first since 2013.
Musical style, influences, and legacy
The direction of the band is dominated by lead guitarist, lead vocalist, keyboardist, bassist and principal songwriter Billy Corgan. Journalist Greg Kot wrote, "The music [of the Smashing Pumpkins] would not be what it is without his ambition and vision, and his famously fractured relationships with his family, friends, and bandmembers." Melissa Auf der Maur commented upon news of the group's reunion, "Everyone knows Billy doesn't need too many people to make a Pumpkins record, other than Jimmy [Chamberlin]—who he has on board." In a 2015 interview Corgan himself referred to the current iteration of the band "as sort of an open source collective" noting that "It's whoever feels right at the time." Many of Corgan's lyrics for the Pumpkins are cathartic expressions of emotion, full of personal musings and strong indictments of himself and those close to him. Music critics were not often fans of Corgan's angst-filled lyrics. Jim DeRogatis wrote in a 1993 Chicago Sun-Times article that Corgan's lyrics "too often sound like sophomoric poetry", although he viewed the lyrics of later albums Adore and Machina as an improvement. The band's songs have been described as "anguished, bruised reports from Billy Corgan's nightmare-land" by journalist William Shaw.
Smashing Pumpkins, unlike many alternative rock bands at the time, disavowed the influence of punk rock on their sound. Overall, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and electronica in later recordings.
The Smashing Pumpkins' distinctive sound up until Adore involved layering numerous guitar tracks onto a song during the recording process, a tactic that Mellon Collie and the Infinite Sadness coproducer Flood called the "Pumpkin guitar overdub army." Although there were a lot of overdubbed parts on Gish, Corgan began to really explore the possibilities of overdubbing with Siamese Dream; Corgan has stated that "Soma" alone contains up to 40 overdubbed guitar parts. While Corgan knew many of the songs would be difficult or impossible to replicate from their recorded versions in concert (in fact, some songs were drastically altered for live performance), he has explained the use of overdubbing by posing the question "When you are faced with making a permanent recorded representation of a song, why not endow it with the grandest possible vision?" This use of multilayered sounds was inspired by Corgan's love of 1970s popular artists & bands such as: David Bowie, Cheap Trick, Queen, Boston, and the Electric Light Orchestra, as well as shoegaze, a British alternative rock style of the late 1980s and early 1990s that relied on swirling layers of guitar noise for effect. Mellon Collie coproducer Alan Moulder was originally hired to mix Siamese Dream because Corgan was a fan of his work producing shoegaze bands such as My Bloody Valentine, Ride, and Slowdive.
Like many contemporary alternative bands, the Smashing Pumpkins utilized shifts in song dynamics, going from quiet to loud and vice versa. Hüsker Dü's seminal album Zen Arcade demonstrated to the band how they could place gentler material against more aggressive fare, and Corgan made such shifts in dynamics central to the pursuit of his grand musical ambitions. Corgan said he liked the idea of creating his own alternative universe through sound that essentially tells the listener, "Welcome to Pumpkin Land, this is what it sounds like on Planet Pumpkin." This emphasis on atmosphere carried through to Adore (described as "arcane night music" in prerelease promotion) and the Machina albums (concept records that tell the story of a fictional rock band).
The Pumpkins drew inspiration from a variety of other genres, some unfashionable during the 1990s among music critics. Corgan in particular was open about his appreciation of heavy metal, citing Dimebag Darrell of Pantera as his favorite contemporary guitarist. When one interviewer commented to Corgan and Iha that "Smashing Pumpkins is one of the groups that relegitimized heavy metal" and that they "were among the first alternative rockers to mention people like Ozzy and Black Sabbath with anything other than contempt". Corgan went on to rave about Black Sabbath's Master of Reality and Judas Priest's Unleashed in the East. The song "Zero", which reminded Iha of Judas Priest, is an example of what the band dubbed "cybermetal." Post-punk and gothic rock bands like Joy Division/New Order, Bauhaus, the Cure, and Depeche Mode were formative influences on the band, which covered such artists in concert and on record. Corgan also cited Siouxsie and the Banshees saying it was important to point back to bands that influenced them. Psychedelic rock was also referenced often in the band's early recordings; according to Corgan, "In typical Pumpkins fashion, no one at that point really liked loud guitars or psychedelic music so, of course, that's exactly what we had to do." Corgan felt that the band's guitars "are a mixture of heavy metal and 80s alternative rock. I think of Cure and Siouxsie and the Banshees". Corgan acknowledged that a chord he jokingly claimed as "the Pumpkin chord" (a G# octave chord at the eleventh fret of a guitar with the low E string played over it), used as the basis for "Cherub Rock", "Drown", and other songs, was in fact previously used by Jimi Hendrix. Other early influences cited by Corgan include Cream, the Stooges, and Blue Cheer.
Regarding the band's influence upon other groups, Greg Kot wrote in 2001, "Whereas Nirvana spawned countless mini-Nirvanas, the Pumpkins remain an island unto themselves." Still, some artists and bands have been influenced by the Pumpkins, such as Nelly Furtado, Marilyn Manson, Third Eye Blind, Mark Hoppus of Blink-182, Tegan and Sara, Fall Out Boy, Rivers Cuomo, Panic! at the Disco, Silversun Pickups, and My Chemical Romance. My Chemical Romance vocalist Gerard Way has said that they pattern their career upon the Pumpkins', including music videos. The members of fellow Chicago band Kill Hannah are friends with Corgan, and lead singer Mat Devine has compared his group to the Pumpkins.
The group has sold over 30 million albums worldwide as of October 2012, and sales in the United States alone reaching 19.75 million.
Music videos
The Smashing Pumpkins have been praised as "responsible for some of the most striking and memorable video clips" and for having "approached videos from a completely artistic standpoint rather than mere commercials to sell albums". MTV's 2001 anniversary special Testimony: 20 Years of Rock on MTV credited the Pumpkins, along with Nine Inch Nails, with treating music videos as an art form during the 1990s. Corgan has said, "We generally resisted the idea of what I call the classic MTV rock video, which is like lots of people jumping around and stuff." The band worked with video directors including Kevin Kerslake ("Cherub Rock"), Samuel Bayer ("Bullet with Butterfly Wings"), and, most frequently, the team of Jonathan Dayton and Valerie Faris ("Rocket", "1979", "Tonight, Tonight", "The End Is the Beginning Is the End", and "Perfect"). Corgan, who was frequently heavily involved in the conception of the videos, said of Dayton and Faris, "I know my [initial] versions are always darker, and they're always talking me into something a little kinder and gentler." Videos like "Today", "Rocket", and "1979" dealt with images taken from middle American culture, albeit exaggerated. The group's videos so often avoid the literal interpretation of the song lyrics that the video for "Thirty-Three", with images closely related to the words of the song, was created as an intentional stylistic departure.
The band was nominated for several MTV Video Music Awards during the 1990s. In 1996, the group won eight VMAs total for the "1979" and "Tonight, Tonight" videos, including the top award, Video of the Year, for "Tonight, Tonight". The video was also nominated for a Grammy at the 1997 ceremony. Of the "Tonight, Tonight" video, Corgan remarked, "I don't think we've ever had people react [like this]... it just seemed to touch a nerve."
Shortly after the band's 2000 breakup, the Greatest Hits Video Collection was released, collecting the band's music videos from 1991 to 2000 and including commentary from Corgan, Iha, Chamberlin, Wretzky, and various music video directors with outtakes, live performances, and the extended "Try, Try, Try" short film.
Band members
Current members
Billy Corgan – lead vocals, guitars, keyboards, bass guitar (1988–2000, 2006–present)
James Iha – guitars, bass guitar, vocals (1988–2000, 2018–present)
Jimmy Chamberlin – drums (1988–1996, 1998–2000, 2006–2009, 2015–present)
Jeff Schroeder – guitars, keyboards (2007–present)
Live members
Jack Bates – bass guitar (2015–present)
Katie Cole – keyboards, backing vocals (2015–present)
Former members
D'arcy Wretzky – bass guitar, backing vocals (1988–1999)
Melissa Auf der Maur – bass guitar (1999–2000)
Mike Byrne – drums, backing vocals, keyboards (2009–2014)
Nicole Fiorentino – bass guitar, backing vocals, keyboards (2010–2014)
Awards
American Music Awards
1997 – Best Alternative Artist
Grammy Awards
1997 – "Bullet with Butterfly Wings" – Best Hard Rock Performance
1998 – "The End Is the Beginning Is the End" – Best Hard Rock Performance
MTV Europe Music Awards
1996 – Best Rock
MTV Video Music Awards
1996 – "Tonight, Tonight" – Video of the Year, Breakthrough Video, Best Direction, Best Visual Effects, Best Art Direction, Best Cinematography
1996 – "1979" – Best Alternative Video
Discography
Studio albums
Gish (1991)
Siamese Dream (1993)
Mellon Collie and the Infinite Sadness (1995)
Adore (1998)
Machina/The Machines of God (2000)
Machina II/The Friends & Enemies of Modern Music (2000)
Zeitgeist (2007)
Oceania (2012)†
Monuments to an Elegy (2014)†
Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018)
Cyr (2020)
Notes
† Part of Teargarden by Kaleidyscope (2009–2014), an overarching project abandoned before completion.
See also
List of artists who reached number one on the U.S. alternative rock chart
Notes
References
Bibliography
Further reading
External links
1988 establishments in Illinois
Alternative rock groups from Chicago
Articles which contain graphical timelines
Caroline Records artists
Grammy Award winners
MTV Europe Music Award winners
Musical groups established in 1988
Musical groups disestablished in 2000
Musical groups reestablished in 2006
Musical quartets
American musical trios
Reprise Records artists
Sumerian Records artists
Virgin Records artists
Musical groups from Chicago
| 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"
] |
[
"The Smashing Pumpkins",
"Mainstream breakout: 1992-1994",
"How did the smashing pumpkins Breakout in 1992?",
"Amid this environment of intense internal pressure for the band to break through to widespread popularity,",
"did they publish any albums during this time?",
"late 1992 to begin work on their second album, with Butch Vig returning as producer.",
"what as the name of their second album?",
"The recording environment for Siamese Dream was quickly marred by discord within the band.",
"Did they end up producing this album?",
"In all, it took over four months to complete the record, with the budget exceeding $250,000.",
"How well was it received?",
"Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone.",
"Did they win any awards during this time?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"the band's reputation as careerists among their former peers in the independent music community was worsened."
] |
C_27a494717f8d47cfa84878b93037e00f_0
|
Why had it worsened?
| 8 |
Why had The Smashing Pumpkins' reputation worsened?
|
The Smashing Pumpkins
|
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'." Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000. Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Husker Du frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world". In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album. CANNOTANSWER
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Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics,
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The Smashing Pumpkins (or Smashing Pumpkins) are an American alternative rock band from Chicago. Formed in 1988 by frontman Billy Corgan (lead vocals, guitar), D'arcy Wretzky (bass), James Iha (guitar), and Jimmy Chamberlin (drums), the band has undergone many line-up changes. The current lineup features Corgan, Chamberlin, Iha and guitarist Jeff Schroeder.
Disavowing the punk rock roots of many of their alt-rock contemporaries, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and, in later recordings, electronica. Corgan is the group's primary songwriter; his musical ambitions and cathartic lyrics have shaped the band's albums and songs, which have been described as "anguished, bruised reports from Billy Corgan's nightmare-land".
The Smashing Pumpkins broke into the musical mainstream with their second album, 1993's Siamese Dream. The group built its audience with extensive touring and their 1995 follow-up, the double album Mellon Collie and the Infinite Sadness, debuted at number one on the Billboard 200 album chart. With 30 million albums sold worldwide, the Smashing Pumpkins were one of the most commercially successful and critically acclaimed bands of the 1990s. However, internal fighting, drug use, and diminishing record sales led to a 2000 break-up.
In 2006, Corgan and Chamberlin reconvened to record a new Smashing Pumpkins album, Zeitgeist. After touring throughout 2007 and 2008 with a lineup including new guitarist Jeff Schroeder, Chamberlin left the band in early 2009. Later that year, Corgan began a new recording series with a rotating lineup of musicians entitled Teargarden by Kaleidyscope, which encompassed the release of stand-alone singles, compilation EP releases, and two full albums that also fell under the project's scope—Oceania in 2012 and Monuments to an Elegy in 2014. Chamberlin and Iha officially rejoined the band in February 2018. The reunited lineup released the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. in November 2018 and Cyr in November 2020.
History
Early years: 1988–1991
After the breakup of his gothic rock band The Marked, singer and guitarist Billy Corgan left St. Petersburg, Florida, to return to his native city of Chicago, where he took a job in a record store and formed the idea of a new band to be called the Smashing Pumpkins. While working there, he met guitarist James Iha. Adorning themselves with paisley and other psychedelic trappings, the two began writing songs together (with the aid of a drum machine) that were heavily influenced by the Cure and New Order. The duo performed live for the first time on July 9, 1988 at the Polish bar Chicago 21. This performance included only Corgan on bass and Iha on guitar with a drum machine. Shortly thereafter, Corgan met D'arcy Wretzky after a show by the Dan Reed Network where they argued the merits of the band. After finding out Wretzky played bass guitar, Corgan recruited her into the lineup, and the trio played a show at the Avalon Nightclub. After this show, Cabaret Metro owner Joe Shanahan agreed to book the band on the condition that they replace the drum
machine with a live drummer.
Jazz drummer Jimmy Chamberlin was recommended by a friend of Corgan's. Chamberlin knew little of alternative music and immediately changed the sound of the nascent band. As Corgan recalled of the period, "We were completely into the sad-rock, Cure kind of thing. It took about two or three practices before I realized that the power in his playing was something that enabled us to rock harder than we could ever have imagined." On October 5, 1988, the complete band took the stage for the first time at the Cabaret Metro.
In 1989, the Smashing Pumpkins made their first appearance on record with the compilation album Light Into Dark, which featured several Chicago alternative bands. The group released its first single, "I Am One", in 1990 on local Chicago label Limited Potential. The single sold out and they released a follow-up, "Tristessa", on Sub Pop, after which they signed to Caroline Records. The band recorded their 1991 debut studio album Gish with producer Butch Vig at his Smart Studios in Madison, Wisconsin for $20,000. In order to gain the consistency he desired, Corgan often played all instruments excluding drums, which created tension in the band. The music fused heavy metal guitars, psychedelia, and dream pop, garnering them comparisons to Jane's Addiction. Gish became a minor success, with the single "Rhinoceros" receiving some airplay on modern rock radio. After releasing the Lull EP in October 1991 on Caroline Records, the band formally signed with Virgin Records, which was affiliated with Caroline. The band supported the album with a tour that included opening for bands such as the Red Hot Chili Peppers, Jane's Addiction, and Guns N' Roses. During the tour, Iha and Wretzky went through a messy breakup, Chamberlin became addicted to narcotics and alcohol, and Corgan entered a deep depression, writing some songs for the upcoming album in the parking garage where he lived at the time.
Mainstream breakout and Siamese Dream: 1992–1994
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'."
Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000.
Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Hüsker Dü frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world".
In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album.
Mellon Collie and the Infinite Sadness: 1995–1997
During 1995, Corgan wrote about 56 songs, following which the band went into the studio with producers Flood and Alan Moulder to work on what Corgan described as "The Wall for Generation X", and which became Mellon Collie and the Infinite Sadness, a double album of twenty-eight songs, lasting over two hours (the vinyl version of the album contained three records, two extra songs, and an alternate track listing). The songs were intended to hang together conceptually as a symbol of the cycle of life and death. Praised by Time as "the group's most ambitious and accomplished work yet", Mellon Collie debuted at number one on the Billboard 200 in October 1995. Even more successful than Siamese Dream, it was certified ten times platinum in the United States and became the best-selling double album of the decade. It also garnered seven 1997 Grammy Award nominations, including Album of the Year. The band won only the Best Hard Rock Performance award, for the album's lead single "Bullet with Butterfly Wings". The album spawned five singles—"Bullet with Butterfly Wings", "1979", "Zero", "Tonight, Tonight" which Corgan stated was inspired by the Cheap Trick song "I'll Be with You Tonight", and "Thirty-Three"—of which the first three were certified gold and all but "Zero" entered the Top 40. Many of the songs that did not make it onto Mellon Collie were released as B-sides to the singles, and were later compiled in The Aeroplane Flies High box set. The set was originally limited to 200,000 copies, but more were produced to meet demand.
In 1996 the Pumpkins undertook an extended world tour in support of Mellon Collie. Corgan's look during this period—a shaved head, a long sleeve black shirt with the word "Zero" printed on it, and silver pants—became iconic. That year, the band also made a guest appearance in an episode of The Simpsons, "Homerpalooza". With considerable video rotation on MTV, major industry awards, and "Zero" shirts selling in many malls, the Pumpkins were considered one of the most popular bands of the time.
In May, the Smashing Pumpkins played a gig at the Point Theatre in Dublin, Ireland. Despite the band's repeated requests for moshing to stop, a seventeen-year-old fan named Bernadette O'Brien was crushed to death. The concert ended early and the following night's performance in Belfast was cancelled out of respect for her. However, while Corgan maintained that moshing's "time [had] come and gone", the band would continue to request open-floor concerts throughout the rest of the tour.
The band suffered a personal tragedy on the night of July 11, 1996, when touring keyboardist Jonathan Melvoin and Chamberlin overdosed on heroin in a hotel room in New York City. Melvoin died, and Chamberlin was arrested for drug possession. A few days later, the band announced that Chamberlin had been fired as a result of the incident. The Pumpkins chose to finish the tour, and hired drummer Matt Walker and keyboardist Dennis Flemion. Corgan later said the decision to continue touring was the worst decision the band had ever made, damaging both their music and their reputation. Chamberlin admitted in a 1994 Rolling Stone cover story that in the past he'd "gotten high in every city in this country and probably half the cities in Europe." But in recent years, he had reportedly been clean. On July 17, the Pumpkins issued a statement in which they said, "For nine years we have battled with Jimmy's struggles with the insidious disease of drug and alcohol addiction. It has nearly destroyed everything we are and stand for. … We wish [him] the best we have to offer". Meanwhile, the band had given interviews since the release of Mellon Collie stating that it would be the last conventional Pumpkins record, and that rock was becoming stale. James Iha said at the end of 1996, "The future is in electronic music. It really seems boring just to play rock music."
Adore, Machina, and breakup: 1998–2000
After the release of Mellon Collie, the Pumpkins contributed many songs to various compilations. Released in early 1997, the song "Eye", which appeared on the soundtrack to David Lynch's Lost Highway, relied almost exclusively on electronic instruments and signaled a drastic shift from the Pumpkins' previous musical styles. At the time, Corgan stated his "idea [was] to reconfigure the focus and get away from the classic guitars-bass-drum rock format." Later that year, the group contributed "The End Is the Beginning Is the End" to the soundtrack for the film Batman & Robin. With Matt Walker on drums, the song featured a heavy sound similar to "Bullet with Butterfly Wings" while still having strong electronic influences. The song later won the 1998 Grammy for Best Hard Rock Performance. Though Corgan announced that the song represented the sound people could expect from the band in the future, the band's next album would feature few guitar-driven songs.
Recorded following the death of Corgan's mother and his divorce, 1998's Adore represented a significant change of style from the Pumpkins' previous guitar-based rock, veering into electronica. The record, cut with assistance from drum machines and studio drummers including Matt Walker, was infused with a darker aesthetic than much of the band's earlier work. The group also modified its public image, shedding its alternative rock look for a more subdued appearance. Although Adore received favorable reviews and was nominated for Best Alternative Performance at the Grammy Awards, the album had only sold about 830,000 copies in the United States by the end of the year. The album nonetheless debuted at number 2 on the Billboard 200 and sold three times as many copies overseas. The band began a seventeen-date, fifteen-city charity North American tour in support of Adore. At each stop on the tour, the band donated 100 percent of tickets sales to a local charity organization. The tour's expenses were entirely funded out of the band's own pockets. All told, the band donated over $2.8 million to charity as a result of the tour. On October 31, 1998 during Halloween, the band opened for Kiss at Dodger Stadium in Los Angeles, dressed in costume as The Beatles.
In 1999 the band surprised fans by reuniting with a rehabilitated Jimmy Chamberlin for a brief tour dubbed "The Arising", which showcased both new and classic material. The lineup was short-lived, however, as the band announced the departure of Wretzky in September during work on the album Machina/The Machines of God. Former Hole bassist Melissa Auf der Maur was recruited for the "Sacred and Profane" tour in support of the album and appeared in the videos accompanying its release. Released in 2000, Machina was initially promoted as the Pumpkins' return to a more traditional rock sound, after the more gothic, electronic-sounding Adore. The album debuted at number three on the Billboard charts, but quickly disappeared and as of 2007 had only been certified gold. Music journalist Jim DeRogatis, who described the album as "one of the strongest of their career", noted that the stalled sales for Machina in comparison to teen pop ascendant at the time "seems like concrete proof that a new wave of young pop fans has turned a deaf ear toward alternative rock."
On May 23, 2000, in a live radio interview on KROQ-FM (Los Angeles), Billy Corgan announced the band's decision to break up at the end of that year following additional touring and recording. The group's final album before the break-up, Machina II/The Friends & Enemies of Modern Music, was released in September 2000 in a limited pressing on vinyl with permission and instructions for free redistribution on the Internet by fans. Only twenty-five copies were cut, each of which was hand numbered and given to friends of the band along with band members themselves. The album, released under the Constantinople Records label created by Corgan, consisted of one double LP and three ten-inch EPs. Originally, the band asked Virgin to offer Machina II as a free download to anyone who bought Machina. When the record label declined, Corgan opted to release the material independently.
On December 2, 2000, Smashing Pumpkins played a farewell concert at The Metro, the same Chicago club where their career had effectively started twelve years earlier. The four-and-a-half-hour-long show featured 35 songs spanning the group's career, and attendees were given a recording of the band's first concert at The Metro, Live at Cabaret Metro 10-5-88. The single "Untitled" was released commercially to coincide with the farewell show.
Post-breakup: 2001–2004
In 2001 the compilation Rotten Apples was released. The double-disc version of the album, released as a limited edition, included a collection of B-sides and rarities called Judas O. The Greatest Hits Video Collection DVD was also released at the same time. This was a compilation of all of the Pumpkins promo videos from Gish to Machina along with unreleased material. Vieuphoria was released on DVD in 2002, as was the soundtrack album Earphoria, previously released solely to radio stations in 1994.
Billy Corgan and Jimmy Chamberlin reunited in 2001 as members of Corgan's next project, the short-lived supergroup Zwan. The group's only album, Mary Star of the Sea, was released in 2003. After cancelling a few festival appearances, Corgan announced the demise of the band in 2003. During 2001 Corgan also toured as part of New Order and provided vocals on their comeback album Get Ready. In October 2004 Corgan released his first book, Blinking with Fists, a collection of poetry. In June 2005, he released a solo album, TheFutureEmbrace, which he described as "(picking) up the thread of the as-yet-unfinished work of the Smashing Pumpkins". Despite this, it was greeted with generally mixed reviews and lackluster sales. Only one single, "Walking Shade", was released in support of the album.
In addition to drumming with Zwan, Jimmy Chamberlin also formed an alternative rock/jazz fusion project band called Jimmy Chamberlin Complex. The group released an album in 2005 titled Life Begins Again. Corgan provided guest vocals on the track "Lokicat". James Iha served as a guitarist in A Perfect Circle, appearing on their Thirteenth Step club tour and 2004 album, eMOTIVe. He has also been involved with other acts such as Chino Moreno's Team Sleep and Vanessa and the O's. He continues to work with Scratchie Records, his own record label, as well. D'arcy Wretzky has, aside from one radio interview in 2009, not made any public statements or appearances nor given any interviews since leaving the band in 1999. On January 25, 2000, she was arrested after she allegedly purchased three bags of cocaine, but after successfully completing a court-ordered drug education program, the charges were dropped.
Corgan insisted during this period that the band would not reform, although when Zwan broke up he announced, "I think my heart was in Smashing Pumpkins […] I think it was naive of me to think that I could find something that would mean as much to me." Corgan said in 2005, "I never wanted to leave the Smashing Pumpkins. That was never the plan." On February 17, 2004, Corgan posted a message on his personal blog calling Wretzky a "mean-spirited drug addict" and blaming Iha for the breakup of the Smashing Pumpkins. On June 3, 2004, he added that "the depth of my hurt [from Iha] is only matched with the depth of my gratitude". Iha responded to Corgan's claims in 2005, saying, "No, I didn't break up the band. The only person who could have done that is Billy."
Reformation and Zeitgeist: 2005–2008
On June 21, 2005, the day of the release of his first solo album TheFutureEmbrace, Corgan took out full-page advertisements in the Chicago Tribune and Chicago Sun-Times to announce that he planned to reunite the band. "For a year now", Corgan wrote, "I have walked around with a secret, a secret I chose to keep. But now I want you to be among the first to know that I have made plans to renew and revive the Smashing Pumpkins. I want my band back, and my songs, and my dreams". Corgan and Chamberlin were verified as participants in the reunion, but there was question as to whether other former members of the band would participate.
In April 2007 Iha and Auf der Maur separately confirmed that they were not taking part in the reunion. Chamberlin would later state that Iha and Wretzky "didn't want to be a part of" the reunion. The Smashing Pumpkins performed live for the first time since 2000 on May 22, 2007, in Paris, France. There, the band unveiled new touring members: guitarist Jeff Schroeder, bassist Ginger Reyes, and keyboardist Lisa Harriton. That same month, "Tarantula" was released as the first single from the band's forthcoming album. On July 7, the band performed at the Live Earth concert in New Jersey.
The band's new album, Zeitgeist, was released that same month on Reprise Records, entering the Billboard charts at number two and selling 145,000 copies in its first week. Zeitgeist received mixed reviews, with much of the criticism targeted at the absence of half of the original lineup. The album divided the Pumpkins' fanbase. Corgan would later admit, "I know a lot of our fans are puzzled by Zeitgeist. I think they wanted this massive, grandiose work, but you don't just roll out of bed after seven years without a functioning band and go back to doing that".
Corgan and Chamberlin continued to record as a duo, releasing the four-song EP American Gothic in January 2008 and the singles "Superchrist" and "G.L.O.W." later that year. That November, the group released the DVD If All Goes Wrong, which chronicled the group's 2007 concert residences in Asheville, North Carolina and San Francisco, California. In late 2008, the band commenced on a controversy-riddled 20th Anniversary Tour. Around this time, Corgan said the group will make no more full-length records in order to focus exclusively on singles, explaining, "The listening patterns have changed, so why are we killing ourselves to do albums, to create balance, and do the arty track to set up the single? It's done."
Teargarden and Oceania: 2009–2013
In March 2009 Corgan announced on the band's website that Chamberlin had left the group and would be replaced. Chamberlin subsequently stated that his departure from the band is "a positive move forward for me. I can no longer commit all of my energy into something that I don't fully possess." Chamberlin stressed that the split was amicable, commenting, "I am glad [Corgan] has chosen to continue under the name. It is his right." Chamberlin soon formed the band Skysaw, which has released an album and toured in support of Minus the Bear. In July 2009 Billy Corgan formed a new group called Spirits in the Sky, initially as a tribute band to Sky Saxon of the Seeds, who had recently died. The following month Corgan confirmed on the band's website that 19-year-old Spirits in the Sky drummer Mike Byrne had replaced Chamberlin and that the pair was working on new Pumpkins recordings.
The group announced plans to release a 44-track concept album, Teargarden by Kaleidyscope, for free over the Internet one track at a time. The first track, "A Song for a Son", was released in December 2009 to moderate press acclaim. In March 2010 Ginger Reyes officially left the band, prompting an open call for auditions for a new bassist. In May, Nicole Fiorentino announced she had joined the band as bass player, and would be working on Teargarden by Kaleidyscope. The new lineup went on a world tour through to the end of 2010. One of the first shows with the new lineup was a concert to benefit Matthew Leone, bassist for the rock band Madina Lake, at the Metro on July 27, 2010. In late 2010 all four members contributed to the sessions for the third volume of Teargarden.
On April 26, 2011, Corgan announced that the Smashing Pumpkins would be releasing a new album titled Oceania, which he labeled as "an album within an album" in regards to the Teargarden by Kaleidyscope project, in the fall. As with the previous recording sessions, all four band members contributed to the project. Also, the entire album catalog was to be remastered and reissued with bonus tracks, starting with Gish and Siamese Dream in November 2011. The pre-Gish demos, Pisces Iscariot, and Mellon Collie and the Infinite Sadness were released in 2012, with The Aeroplane Flies High released the following year. Adore was released in 2014, and Machina/The Machines of God and the yet commercially unreleased Machina II/Friends and Enemies of Modern Music are expected to be combined, remixed, and released in the same year. The band did a thirteen-city US tour in October 2011 followed by a European tour in November and December.
Oceania was released on June 19, 2012, and received generally positive reviews. The album debuted at No. 4 on the Billboard 200 and at No. 1 on the Billboard Independent. The album spawned two singles, "The Celestials" and "Panopticon". The band proceeded to tour in support of the album, including a US tour involving playing the album in its entirety. By September 2012, Corgan stated that the band had already begun work on their next album. However, despite this, the band concentrated on touring, playing at Glastonbury Festival, Dour Festival and the Barclays Center, where they recorded Oceania: Live in NYC, which was released on September 24, 2013.
Monuments to an Elegy: 2014–2016
On March 25, 2014, Corgan announced he had signed a new record deal with BMG, for two new albums, titled Monuments to an Elegy and Day for Night, respectively. In June, it was revealed that Mike Byrne was no longer in the band, to be replaced by Tommy Lee of Mötley Crüe on the new album, and Fiorentino would not be recording on the album either. Monuments to an Elegy was released on December 5, 2014, to generally positive reviews. The band toured in support of the album starting on November 26, with Rage Against the Machine's Brad Wilk filling in on drums and the Killers' Mark Stoermer filling in on bass. The follow-up proposed album Day For Night was cited for delayed late 2015 or early 2016 release.
Later in 2015 Corgan announced that the band would embark on a co-headlining tour of North America with Marilyn Manson, "The End Times Tour", across July and August 2015. Prior to the co-headlining dates, the band performed a series of acoustic shows with drum machines and tapes for percussion. When the time came for the co-headlining tour, plans for a drummer fell through and Corgan recruited Chamberlin to reunite for the shows. On February 1, 2016, it was announced that the band would continue their In Plainsong acoustic tour with Jimmy Chamberlin on drums and were planning to head "straight to the studio after the dates to record a brand new album inspired by the sounds explored in the new acoustic setting". On February 25, 2016, Corgan posted a video from a Los Angeles studio on the band's Facebook account, giving an update on the writing process for the new songs for the upcoming album to be released after the In Plainsong tour.
The tour began in Portland, Oregon, on March 22, 2016.
Iha and Chamberlin's return; Shiny and Oh So Bright and Cyr: 2018–present
On his birthday on March 26, 2016, original guitarist James Iha joined Billy Corgan, Jimmy Chamberlin, and Jeff Schroeder on stage unannounced at the Ace Hotel in downtown Los Angeles. He performed a few songs, including "Mayonaise", "Soma" and "Whir" marking his first appearance with the Smashing Pumpkins in 16 years. Iha also played at the second of the two Smashing Pumpkins shows at the Ace Hotel the following day, which was Easter Sunday. Iha joined the Pumpkins for a third time at their concert of April 14 at the Civic Opera House in Chicago. In July, Corgan began hinting of the possibility of reuniting the band original lineup, of himself, Iha, Wretzky, and Chamberlin, and in August, he stated he had begun reaching out to the original lineup about the feasibility of a reunion, including speaking to Wretzky for the first time in sixteen years. Despite the comments, Corgan would spend much of 2017 working on solo material – recording and releasing the solo album Ogilala and beginning work on another solo album for 2018. In June 2017 Chamberlin also mentioned the possibility of a reunion tour in 2018. In January 2018 Corgan shared a photo of himself, Iha, and Chamberlin together in recording studio. In February 2018 Corgan announced that he was working with music producer Rick Rubin on a future Smashing Pumpkins album, that there were currently 26 songs he was actively working on, and that "the guitar feels once again like the preferred weapon of choice." Soon afterwards, Corgan shared a photo of sound equipment with Iha's name on a label, as well as announcing recording was finished on the album.
On February 15, 2018, the band officially announced that founding members Iha and Chamberlin were back in the band. They embarked on the Shiny And Oh So Bright Tour starting in July, with a focus on performing material from their first five studio albums. and sold over 350,000 tickets and sold out arenas including The Forum, United Center, and Madison Square Garden. Original bassist D'arcy Wretzky claimed she had been offered a contract to rejoin the band but Corgan rescinded the offer soon after. Corgan released a statement denying the claims, stating "Ms. Wretzky has repeatedly been invited out to play with the group, participate in demo sessions, or at the very least, meet face-to-face, and in each and every instance she always deferred". Jack Bates (son of Joy Division bassist Peter Hook) played bass on the tour. Bates previously toured with the Smashing Pumpkins in 2015. Multi-instrumentalist Katie Cole rejoined the band for the tour as well, singing backup vocals and playing keyboards and guitar.
In March 2018, Corgan mentioned the band planned to release two EPs in 2018, with the first tentatively planned for May. On June 8, 2018, the first single from the set of music, "Solara", was released. On August 2, 2018, the band celebrated their 30th anniversary by performing in Holmdel, New Jersey. with several notable special guests including Courtney Love, Chino Moreno, Davey Havok, Peter Hook, Mark McGrath, and Dave Keuning and Mark Stoermer of The Killers. In September 2018, they announced the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun., released via Napalm Records on November 16, 2018, which debuted at number 54 on the Billboard 200 chart.
After touring through much of 2019, Corgan noted in January 2020 that the band was currently working on 21 songs for a future album release. On August 28, 2020, the band released the single and video for "Cyr", along with a second track titled "The Colour of Love" from their album Cyr, which was released through their new record label Sumerian Records on November 27, 2020. It serves as the second part of the Shiny and Oh So Bright series. On September 25, 2020, the band released another single from Cyr that included the songs "Confessions of a Dopamine Addict" and "Wrath". On October 9, 2020, the band released a third single for Cyr that featured the tracks "Anno Satana" and "Birch Grove". On October 29, the band released "Ramona" and "Wyttch" as the fourth pair of singles. On November 20, 2020, the songs "Purple Blood" and "Dulcet in E" were released as the fifth and final single for Cyr. The following week, on November 27, 2020, the band released Cyr. Despite never getting to properly tour Cyr, the band did play four songs from the album at their headlining shows at Riot Fest and Sea.Hear.Now Festival in September 2021.
In late 2020, Corgan announced that the band would begin work on another double album for release in 2021, although the year passed without the album releasing. The double album is to serve as a sequel to the overarching story of Mellon Collie and the Infinite Sadness and Machina: The Machines of God. On February 22, the band announced on social media the Rock Invasion 2 Tour, which had previously been set to take place in spring 2020, but had been postponed to fall 2020 and subsequently canceled due to the COVID-19 pandemic. The newly announced incarnation of the tour had entirely new locations spanning 11 US cities accompanying the band's spring festival appearances and four performances in Mexico, their first since 2013.
Musical style, influences, and legacy
The direction of the band is dominated by lead guitarist, lead vocalist, keyboardist, bassist and principal songwriter Billy Corgan. Journalist Greg Kot wrote, "The music [of the Smashing Pumpkins] would not be what it is without his ambition and vision, and his famously fractured relationships with his family, friends, and bandmembers." Melissa Auf der Maur commented upon news of the group's reunion, "Everyone knows Billy doesn't need too many people to make a Pumpkins record, other than Jimmy [Chamberlin]—who he has on board." In a 2015 interview Corgan himself referred to the current iteration of the band "as sort of an open source collective" noting that "It's whoever feels right at the time." Many of Corgan's lyrics for the Pumpkins are cathartic expressions of emotion, full of personal musings and strong indictments of himself and those close to him. Music critics were not often fans of Corgan's angst-filled lyrics. Jim DeRogatis wrote in a 1993 Chicago Sun-Times article that Corgan's lyrics "too often sound like sophomoric poetry", although he viewed the lyrics of later albums Adore and Machina as an improvement. The band's songs have been described as "anguished, bruised reports from Billy Corgan's nightmare-land" by journalist William Shaw.
Smashing Pumpkins, unlike many alternative rock bands at the time, disavowed the influence of punk rock on their sound. Overall, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and electronica in later recordings.
The Smashing Pumpkins' distinctive sound up until Adore involved layering numerous guitar tracks onto a song during the recording process, a tactic that Mellon Collie and the Infinite Sadness coproducer Flood called the "Pumpkin guitar overdub army." Although there were a lot of overdubbed parts on Gish, Corgan began to really explore the possibilities of overdubbing with Siamese Dream; Corgan has stated that "Soma" alone contains up to 40 overdubbed guitar parts. While Corgan knew many of the songs would be difficult or impossible to replicate from their recorded versions in concert (in fact, some songs were drastically altered for live performance), he has explained the use of overdubbing by posing the question "When you are faced with making a permanent recorded representation of a song, why not endow it with the grandest possible vision?" This use of multilayered sounds was inspired by Corgan's love of 1970s popular artists & bands such as: David Bowie, Cheap Trick, Queen, Boston, and the Electric Light Orchestra, as well as shoegaze, a British alternative rock style of the late 1980s and early 1990s that relied on swirling layers of guitar noise for effect. Mellon Collie coproducer Alan Moulder was originally hired to mix Siamese Dream because Corgan was a fan of his work producing shoegaze bands such as My Bloody Valentine, Ride, and Slowdive.
Like many contemporary alternative bands, the Smashing Pumpkins utilized shifts in song dynamics, going from quiet to loud and vice versa. Hüsker Dü's seminal album Zen Arcade demonstrated to the band how they could place gentler material against more aggressive fare, and Corgan made such shifts in dynamics central to the pursuit of his grand musical ambitions. Corgan said he liked the idea of creating his own alternative universe through sound that essentially tells the listener, "Welcome to Pumpkin Land, this is what it sounds like on Planet Pumpkin." This emphasis on atmosphere carried through to Adore (described as "arcane night music" in prerelease promotion) and the Machina albums (concept records that tell the story of a fictional rock band).
The Pumpkins drew inspiration from a variety of other genres, some unfashionable during the 1990s among music critics. Corgan in particular was open about his appreciation of heavy metal, citing Dimebag Darrell of Pantera as his favorite contemporary guitarist. When one interviewer commented to Corgan and Iha that "Smashing Pumpkins is one of the groups that relegitimized heavy metal" and that they "were among the first alternative rockers to mention people like Ozzy and Black Sabbath with anything other than contempt". Corgan went on to rave about Black Sabbath's Master of Reality and Judas Priest's Unleashed in the East. The song "Zero", which reminded Iha of Judas Priest, is an example of what the band dubbed "cybermetal." Post-punk and gothic rock bands like Joy Division/New Order, Bauhaus, the Cure, and Depeche Mode were formative influences on the band, which covered such artists in concert and on record. Corgan also cited Siouxsie and the Banshees saying it was important to point back to bands that influenced them. Psychedelic rock was also referenced often in the band's early recordings; according to Corgan, "In typical Pumpkins fashion, no one at that point really liked loud guitars or psychedelic music so, of course, that's exactly what we had to do." Corgan felt that the band's guitars "are a mixture of heavy metal and 80s alternative rock. I think of Cure and Siouxsie and the Banshees". Corgan acknowledged that a chord he jokingly claimed as "the Pumpkin chord" (a G# octave chord at the eleventh fret of a guitar with the low E string played over it), used as the basis for "Cherub Rock", "Drown", and other songs, was in fact previously used by Jimi Hendrix. Other early influences cited by Corgan include Cream, the Stooges, and Blue Cheer.
Regarding the band's influence upon other groups, Greg Kot wrote in 2001, "Whereas Nirvana spawned countless mini-Nirvanas, the Pumpkins remain an island unto themselves." Still, some artists and bands have been influenced by the Pumpkins, such as Nelly Furtado, Marilyn Manson, Third Eye Blind, Mark Hoppus of Blink-182, Tegan and Sara, Fall Out Boy, Rivers Cuomo, Panic! at the Disco, Silversun Pickups, and My Chemical Romance. My Chemical Romance vocalist Gerard Way has said that they pattern their career upon the Pumpkins', including music videos. The members of fellow Chicago band Kill Hannah are friends with Corgan, and lead singer Mat Devine has compared his group to the Pumpkins.
The group has sold over 30 million albums worldwide as of October 2012, and sales in the United States alone reaching 19.75 million.
Music videos
The Smashing Pumpkins have been praised as "responsible for some of the most striking and memorable video clips" and for having "approached videos from a completely artistic standpoint rather than mere commercials to sell albums". MTV's 2001 anniversary special Testimony: 20 Years of Rock on MTV credited the Pumpkins, along with Nine Inch Nails, with treating music videos as an art form during the 1990s. Corgan has said, "We generally resisted the idea of what I call the classic MTV rock video, which is like lots of people jumping around and stuff." The band worked with video directors including Kevin Kerslake ("Cherub Rock"), Samuel Bayer ("Bullet with Butterfly Wings"), and, most frequently, the team of Jonathan Dayton and Valerie Faris ("Rocket", "1979", "Tonight, Tonight", "The End Is the Beginning Is the End", and "Perfect"). Corgan, who was frequently heavily involved in the conception of the videos, said of Dayton and Faris, "I know my [initial] versions are always darker, and they're always talking me into something a little kinder and gentler." Videos like "Today", "Rocket", and "1979" dealt with images taken from middle American culture, albeit exaggerated. The group's videos so often avoid the literal interpretation of the song lyrics that the video for "Thirty-Three", with images closely related to the words of the song, was created as an intentional stylistic departure.
The band was nominated for several MTV Video Music Awards during the 1990s. In 1996, the group won eight VMAs total for the "1979" and "Tonight, Tonight" videos, including the top award, Video of the Year, for "Tonight, Tonight". The video was also nominated for a Grammy at the 1997 ceremony. Of the "Tonight, Tonight" video, Corgan remarked, "I don't think we've ever had people react [like this]... it just seemed to touch a nerve."
Shortly after the band's 2000 breakup, the Greatest Hits Video Collection was released, collecting the band's music videos from 1991 to 2000 and including commentary from Corgan, Iha, Chamberlin, Wretzky, and various music video directors with outtakes, live performances, and the extended "Try, Try, Try" short film.
Band members
Current members
Billy Corgan – lead vocals, guitars, keyboards, bass guitar (1988–2000, 2006–present)
James Iha – guitars, bass guitar, vocals (1988–2000, 2018–present)
Jimmy Chamberlin – drums (1988–1996, 1998–2000, 2006–2009, 2015–present)
Jeff Schroeder – guitars, keyboards (2007–present)
Live members
Jack Bates – bass guitar (2015–present)
Katie Cole – keyboards, backing vocals (2015–present)
Former members
D'arcy Wretzky – bass guitar, backing vocals (1988–1999)
Melissa Auf der Maur – bass guitar (1999–2000)
Mike Byrne – drums, backing vocals, keyboards (2009–2014)
Nicole Fiorentino – bass guitar, backing vocals, keyboards (2010–2014)
Awards
American Music Awards
1997 – Best Alternative Artist
Grammy Awards
1997 – "Bullet with Butterfly Wings" – Best Hard Rock Performance
1998 – "The End Is the Beginning Is the End" – Best Hard Rock Performance
MTV Europe Music Awards
1996 – Best Rock
MTV Video Music Awards
1996 – "Tonight, Tonight" – Video of the Year, Breakthrough Video, Best Direction, Best Visual Effects, Best Art Direction, Best Cinematography
1996 – "1979" – Best Alternative Video
Discography
Studio albums
Gish (1991)
Siamese Dream (1993)
Mellon Collie and the Infinite Sadness (1995)
Adore (1998)
Machina/The Machines of God (2000)
Machina II/The Friends & Enemies of Modern Music (2000)
Zeitgeist (2007)
Oceania (2012)†
Monuments to an Elegy (2014)†
Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018)
Cyr (2020)
Notes
† Part of Teargarden by Kaleidyscope (2009–2014), an overarching project abandoned before completion.
See also
List of artists who reached number one on the U.S. alternative rock chart
Notes
References
Bibliography
Further reading
External links
1988 establishments in Illinois
Alternative rock groups from Chicago
Articles which contain graphical timelines
Caroline Records artists
Grammy Award winners
MTV Europe Music Award winners
Musical groups established in 1988
Musical groups disestablished in 2000
Musical groups reestablished in 2006
Musical quartets
American musical trios
Reprise Records artists
Sumerian Records artists
Virgin Records artists
Musical groups from Chicago
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"Huntertown is in Woodford County, Kentucky. It was established by a veteran of the American Civil War who was African American. There is a Huntertown Elementary School nearby.\n\nThe Bluegrass Parkway was constructed through Huntertown, splitting it, and worsened flooding issues. Residents were paid to move elsewhere in 2003. A commemorative marker recounts the settlement's history.\n\nReferences\n\nWoodford County, Kentucky"
] |
[
"The Smashing Pumpkins",
"Mainstream breakout: 1992-1994",
"How did the smashing pumpkins Breakout in 1992?",
"Amid this environment of intense internal pressure for the band to break through to widespread popularity,",
"did they publish any albums during this time?",
"late 1992 to begin work on their second album, with Butch Vig returning as producer.",
"what as the name of their second album?",
"The recording environment for Siamese Dream was quickly marred by discord within the band.",
"Did they end up producing this album?",
"In all, it took over four months to complete the record, with the budget exceeding $250,000.",
"How well was it received?",
"Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone.",
"Did they win any awards during this time?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"the band's reputation as careerists among their former peers in the independent music community was worsened.",
"Why had it worsened?",
"Indie rock band Pavement's 1994 song \"Range Life\" directly mocks the band in its lyrics,"
] |
C_27a494717f8d47cfa84878b93037e00f_0
|
Did they release any other albums between 1992-1994?
| 9 |
Did The Smashing Pumpkins' release any other albums between 1992-1994 besides the second album?
|
The Smashing Pumpkins
|
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'." Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000. Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Husker Du frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world". In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album. CANNOTANSWER
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Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage.
|
The Smashing Pumpkins (or Smashing Pumpkins) are an American alternative rock band from Chicago. Formed in 1988 by frontman Billy Corgan (lead vocals, guitar), D'arcy Wretzky (bass), James Iha (guitar), and Jimmy Chamberlin (drums), the band has undergone many line-up changes. The current lineup features Corgan, Chamberlin, Iha and guitarist Jeff Schroeder.
Disavowing the punk rock roots of many of their alt-rock contemporaries, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and, in later recordings, electronica. Corgan is the group's primary songwriter; his musical ambitions and cathartic lyrics have shaped the band's albums and songs, which have been described as "anguished, bruised reports from Billy Corgan's nightmare-land".
The Smashing Pumpkins broke into the musical mainstream with their second album, 1993's Siamese Dream. The group built its audience with extensive touring and their 1995 follow-up, the double album Mellon Collie and the Infinite Sadness, debuted at number one on the Billboard 200 album chart. With 30 million albums sold worldwide, the Smashing Pumpkins were one of the most commercially successful and critically acclaimed bands of the 1990s. However, internal fighting, drug use, and diminishing record sales led to a 2000 break-up.
In 2006, Corgan and Chamberlin reconvened to record a new Smashing Pumpkins album, Zeitgeist. After touring throughout 2007 and 2008 with a lineup including new guitarist Jeff Schroeder, Chamberlin left the band in early 2009. Later that year, Corgan began a new recording series with a rotating lineup of musicians entitled Teargarden by Kaleidyscope, which encompassed the release of stand-alone singles, compilation EP releases, and two full albums that also fell under the project's scope—Oceania in 2012 and Monuments to an Elegy in 2014. Chamberlin and Iha officially rejoined the band in February 2018. The reunited lineup released the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. in November 2018 and Cyr in November 2020.
History
Early years: 1988–1991
After the breakup of his gothic rock band The Marked, singer and guitarist Billy Corgan left St. Petersburg, Florida, to return to his native city of Chicago, where he took a job in a record store and formed the idea of a new band to be called the Smashing Pumpkins. While working there, he met guitarist James Iha. Adorning themselves with paisley and other psychedelic trappings, the two began writing songs together (with the aid of a drum machine) that were heavily influenced by the Cure and New Order. The duo performed live for the first time on July 9, 1988 at the Polish bar Chicago 21. This performance included only Corgan on bass and Iha on guitar with a drum machine. Shortly thereafter, Corgan met D'arcy Wretzky after a show by the Dan Reed Network where they argued the merits of the band. After finding out Wretzky played bass guitar, Corgan recruited her into the lineup, and the trio played a show at the Avalon Nightclub. After this show, Cabaret Metro owner Joe Shanahan agreed to book the band on the condition that they replace the drum
machine with a live drummer.
Jazz drummer Jimmy Chamberlin was recommended by a friend of Corgan's. Chamberlin knew little of alternative music and immediately changed the sound of the nascent band. As Corgan recalled of the period, "We were completely into the sad-rock, Cure kind of thing. It took about two or three practices before I realized that the power in his playing was something that enabled us to rock harder than we could ever have imagined." On October 5, 1988, the complete band took the stage for the first time at the Cabaret Metro.
In 1989, the Smashing Pumpkins made their first appearance on record with the compilation album Light Into Dark, which featured several Chicago alternative bands. The group released its first single, "I Am One", in 1990 on local Chicago label Limited Potential. The single sold out and they released a follow-up, "Tristessa", on Sub Pop, after which they signed to Caroline Records. The band recorded their 1991 debut studio album Gish with producer Butch Vig at his Smart Studios in Madison, Wisconsin for $20,000. In order to gain the consistency he desired, Corgan often played all instruments excluding drums, which created tension in the band. The music fused heavy metal guitars, psychedelia, and dream pop, garnering them comparisons to Jane's Addiction. Gish became a minor success, with the single "Rhinoceros" receiving some airplay on modern rock radio. After releasing the Lull EP in October 1991 on Caroline Records, the band formally signed with Virgin Records, which was affiliated with Caroline. The band supported the album with a tour that included opening for bands such as the Red Hot Chili Peppers, Jane's Addiction, and Guns N' Roses. During the tour, Iha and Wretzky went through a messy breakup, Chamberlin became addicted to narcotics and alcohol, and Corgan entered a deep depression, writing some songs for the upcoming album in the parking garage where he lived at the time.
Mainstream breakout and Siamese Dream: 1992–1994
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'."
Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000.
Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Hüsker Dü frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world".
In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album.
Mellon Collie and the Infinite Sadness: 1995–1997
During 1995, Corgan wrote about 56 songs, following which the band went into the studio with producers Flood and Alan Moulder to work on what Corgan described as "The Wall for Generation X", and which became Mellon Collie and the Infinite Sadness, a double album of twenty-eight songs, lasting over two hours (the vinyl version of the album contained three records, two extra songs, and an alternate track listing). The songs were intended to hang together conceptually as a symbol of the cycle of life and death. Praised by Time as "the group's most ambitious and accomplished work yet", Mellon Collie debuted at number one on the Billboard 200 in October 1995. Even more successful than Siamese Dream, it was certified ten times platinum in the United States and became the best-selling double album of the decade. It also garnered seven 1997 Grammy Award nominations, including Album of the Year. The band won only the Best Hard Rock Performance award, for the album's lead single "Bullet with Butterfly Wings". The album spawned five singles—"Bullet with Butterfly Wings", "1979", "Zero", "Tonight, Tonight" which Corgan stated was inspired by the Cheap Trick song "I'll Be with You Tonight", and "Thirty-Three"—of which the first three were certified gold and all but "Zero" entered the Top 40. Many of the songs that did not make it onto Mellon Collie were released as B-sides to the singles, and were later compiled in The Aeroplane Flies High box set. The set was originally limited to 200,000 copies, but more were produced to meet demand.
In 1996 the Pumpkins undertook an extended world tour in support of Mellon Collie. Corgan's look during this period—a shaved head, a long sleeve black shirt with the word "Zero" printed on it, and silver pants—became iconic. That year, the band also made a guest appearance in an episode of The Simpsons, "Homerpalooza". With considerable video rotation on MTV, major industry awards, and "Zero" shirts selling in many malls, the Pumpkins were considered one of the most popular bands of the time.
In May, the Smashing Pumpkins played a gig at the Point Theatre in Dublin, Ireland. Despite the band's repeated requests for moshing to stop, a seventeen-year-old fan named Bernadette O'Brien was crushed to death. The concert ended early and the following night's performance in Belfast was cancelled out of respect for her. However, while Corgan maintained that moshing's "time [had] come and gone", the band would continue to request open-floor concerts throughout the rest of the tour.
The band suffered a personal tragedy on the night of July 11, 1996, when touring keyboardist Jonathan Melvoin and Chamberlin overdosed on heroin in a hotel room in New York City. Melvoin died, and Chamberlin was arrested for drug possession. A few days later, the band announced that Chamberlin had been fired as a result of the incident. The Pumpkins chose to finish the tour, and hired drummer Matt Walker and keyboardist Dennis Flemion. Corgan later said the decision to continue touring was the worst decision the band had ever made, damaging both their music and their reputation. Chamberlin admitted in a 1994 Rolling Stone cover story that in the past he'd "gotten high in every city in this country and probably half the cities in Europe." But in recent years, he had reportedly been clean. On July 17, the Pumpkins issued a statement in which they said, "For nine years we have battled with Jimmy's struggles with the insidious disease of drug and alcohol addiction. It has nearly destroyed everything we are and stand for. … We wish [him] the best we have to offer". Meanwhile, the band had given interviews since the release of Mellon Collie stating that it would be the last conventional Pumpkins record, and that rock was becoming stale. James Iha said at the end of 1996, "The future is in electronic music. It really seems boring just to play rock music."
Adore, Machina, and breakup: 1998–2000
After the release of Mellon Collie, the Pumpkins contributed many songs to various compilations. Released in early 1997, the song "Eye", which appeared on the soundtrack to David Lynch's Lost Highway, relied almost exclusively on electronic instruments and signaled a drastic shift from the Pumpkins' previous musical styles. At the time, Corgan stated his "idea [was] to reconfigure the focus and get away from the classic guitars-bass-drum rock format." Later that year, the group contributed "The End Is the Beginning Is the End" to the soundtrack for the film Batman & Robin. With Matt Walker on drums, the song featured a heavy sound similar to "Bullet with Butterfly Wings" while still having strong electronic influences. The song later won the 1998 Grammy for Best Hard Rock Performance. Though Corgan announced that the song represented the sound people could expect from the band in the future, the band's next album would feature few guitar-driven songs.
Recorded following the death of Corgan's mother and his divorce, 1998's Adore represented a significant change of style from the Pumpkins' previous guitar-based rock, veering into electronica. The record, cut with assistance from drum machines and studio drummers including Matt Walker, was infused with a darker aesthetic than much of the band's earlier work. The group also modified its public image, shedding its alternative rock look for a more subdued appearance. Although Adore received favorable reviews and was nominated for Best Alternative Performance at the Grammy Awards, the album had only sold about 830,000 copies in the United States by the end of the year. The album nonetheless debuted at number 2 on the Billboard 200 and sold three times as many copies overseas. The band began a seventeen-date, fifteen-city charity North American tour in support of Adore. At each stop on the tour, the band donated 100 percent of tickets sales to a local charity organization. The tour's expenses were entirely funded out of the band's own pockets. All told, the band donated over $2.8 million to charity as a result of the tour. On October 31, 1998 during Halloween, the band opened for Kiss at Dodger Stadium in Los Angeles, dressed in costume as The Beatles.
In 1999 the band surprised fans by reuniting with a rehabilitated Jimmy Chamberlin for a brief tour dubbed "The Arising", which showcased both new and classic material. The lineup was short-lived, however, as the band announced the departure of Wretzky in September during work on the album Machina/The Machines of God. Former Hole bassist Melissa Auf der Maur was recruited for the "Sacred and Profane" tour in support of the album and appeared in the videos accompanying its release. Released in 2000, Machina was initially promoted as the Pumpkins' return to a more traditional rock sound, after the more gothic, electronic-sounding Adore. The album debuted at number three on the Billboard charts, but quickly disappeared and as of 2007 had only been certified gold. Music journalist Jim DeRogatis, who described the album as "one of the strongest of their career", noted that the stalled sales for Machina in comparison to teen pop ascendant at the time "seems like concrete proof that a new wave of young pop fans has turned a deaf ear toward alternative rock."
On May 23, 2000, in a live radio interview on KROQ-FM (Los Angeles), Billy Corgan announced the band's decision to break up at the end of that year following additional touring and recording. The group's final album before the break-up, Machina II/The Friends & Enemies of Modern Music, was released in September 2000 in a limited pressing on vinyl with permission and instructions for free redistribution on the Internet by fans. Only twenty-five copies were cut, each of which was hand numbered and given to friends of the band along with band members themselves. The album, released under the Constantinople Records label created by Corgan, consisted of one double LP and three ten-inch EPs. Originally, the band asked Virgin to offer Machina II as a free download to anyone who bought Machina. When the record label declined, Corgan opted to release the material independently.
On December 2, 2000, Smashing Pumpkins played a farewell concert at The Metro, the same Chicago club where their career had effectively started twelve years earlier. The four-and-a-half-hour-long show featured 35 songs spanning the group's career, and attendees were given a recording of the band's first concert at The Metro, Live at Cabaret Metro 10-5-88. The single "Untitled" was released commercially to coincide with the farewell show.
Post-breakup: 2001–2004
In 2001 the compilation Rotten Apples was released. The double-disc version of the album, released as a limited edition, included a collection of B-sides and rarities called Judas O. The Greatest Hits Video Collection DVD was also released at the same time. This was a compilation of all of the Pumpkins promo videos from Gish to Machina along with unreleased material. Vieuphoria was released on DVD in 2002, as was the soundtrack album Earphoria, previously released solely to radio stations in 1994.
Billy Corgan and Jimmy Chamberlin reunited in 2001 as members of Corgan's next project, the short-lived supergroup Zwan. The group's only album, Mary Star of the Sea, was released in 2003. After cancelling a few festival appearances, Corgan announced the demise of the band in 2003. During 2001 Corgan also toured as part of New Order and provided vocals on their comeback album Get Ready. In October 2004 Corgan released his first book, Blinking with Fists, a collection of poetry. In June 2005, he released a solo album, TheFutureEmbrace, which he described as "(picking) up the thread of the as-yet-unfinished work of the Smashing Pumpkins". Despite this, it was greeted with generally mixed reviews and lackluster sales. Only one single, "Walking Shade", was released in support of the album.
In addition to drumming with Zwan, Jimmy Chamberlin also formed an alternative rock/jazz fusion project band called Jimmy Chamberlin Complex. The group released an album in 2005 titled Life Begins Again. Corgan provided guest vocals on the track "Lokicat". James Iha served as a guitarist in A Perfect Circle, appearing on their Thirteenth Step club tour and 2004 album, eMOTIVe. He has also been involved with other acts such as Chino Moreno's Team Sleep and Vanessa and the O's. He continues to work with Scratchie Records, his own record label, as well. D'arcy Wretzky has, aside from one radio interview in 2009, not made any public statements or appearances nor given any interviews since leaving the band in 1999. On January 25, 2000, she was arrested after she allegedly purchased three bags of cocaine, but after successfully completing a court-ordered drug education program, the charges were dropped.
Corgan insisted during this period that the band would not reform, although when Zwan broke up he announced, "I think my heart was in Smashing Pumpkins […] I think it was naive of me to think that I could find something that would mean as much to me." Corgan said in 2005, "I never wanted to leave the Smashing Pumpkins. That was never the plan." On February 17, 2004, Corgan posted a message on his personal blog calling Wretzky a "mean-spirited drug addict" and blaming Iha for the breakup of the Smashing Pumpkins. On June 3, 2004, he added that "the depth of my hurt [from Iha] is only matched with the depth of my gratitude". Iha responded to Corgan's claims in 2005, saying, "No, I didn't break up the band. The only person who could have done that is Billy."
Reformation and Zeitgeist: 2005–2008
On June 21, 2005, the day of the release of his first solo album TheFutureEmbrace, Corgan took out full-page advertisements in the Chicago Tribune and Chicago Sun-Times to announce that he planned to reunite the band. "For a year now", Corgan wrote, "I have walked around with a secret, a secret I chose to keep. But now I want you to be among the first to know that I have made plans to renew and revive the Smashing Pumpkins. I want my band back, and my songs, and my dreams". Corgan and Chamberlin were verified as participants in the reunion, but there was question as to whether other former members of the band would participate.
In April 2007 Iha and Auf der Maur separately confirmed that they were not taking part in the reunion. Chamberlin would later state that Iha and Wretzky "didn't want to be a part of" the reunion. The Smashing Pumpkins performed live for the first time since 2000 on May 22, 2007, in Paris, France. There, the band unveiled new touring members: guitarist Jeff Schroeder, bassist Ginger Reyes, and keyboardist Lisa Harriton. That same month, "Tarantula" was released as the first single from the band's forthcoming album. On July 7, the band performed at the Live Earth concert in New Jersey.
The band's new album, Zeitgeist, was released that same month on Reprise Records, entering the Billboard charts at number two and selling 145,000 copies in its first week. Zeitgeist received mixed reviews, with much of the criticism targeted at the absence of half of the original lineup. The album divided the Pumpkins' fanbase. Corgan would later admit, "I know a lot of our fans are puzzled by Zeitgeist. I think they wanted this massive, grandiose work, but you don't just roll out of bed after seven years without a functioning band and go back to doing that".
Corgan and Chamberlin continued to record as a duo, releasing the four-song EP American Gothic in January 2008 and the singles "Superchrist" and "G.L.O.W." later that year. That November, the group released the DVD If All Goes Wrong, which chronicled the group's 2007 concert residences in Asheville, North Carolina and San Francisco, California. In late 2008, the band commenced on a controversy-riddled 20th Anniversary Tour. Around this time, Corgan said the group will make no more full-length records in order to focus exclusively on singles, explaining, "The listening patterns have changed, so why are we killing ourselves to do albums, to create balance, and do the arty track to set up the single? It's done."
Teargarden and Oceania: 2009–2013
In March 2009 Corgan announced on the band's website that Chamberlin had left the group and would be replaced. Chamberlin subsequently stated that his departure from the band is "a positive move forward for me. I can no longer commit all of my energy into something that I don't fully possess." Chamberlin stressed that the split was amicable, commenting, "I am glad [Corgan] has chosen to continue under the name. It is his right." Chamberlin soon formed the band Skysaw, which has released an album and toured in support of Minus the Bear. In July 2009 Billy Corgan formed a new group called Spirits in the Sky, initially as a tribute band to Sky Saxon of the Seeds, who had recently died. The following month Corgan confirmed on the band's website that 19-year-old Spirits in the Sky drummer Mike Byrne had replaced Chamberlin and that the pair was working on new Pumpkins recordings.
The group announced plans to release a 44-track concept album, Teargarden by Kaleidyscope, for free over the Internet one track at a time. The first track, "A Song for a Son", was released in December 2009 to moderate press acclaim. In March 2010 Ginger Reyes officially left the band, prompting an open call for auditions for a new bassist. In May, Nicole Fiorentino announced she had joined the band as bass player, and would be working on Teargarden by Kaleidyscope. The new lineup went on a world tour through to the end of 2010. One of the first shows with the new lineup was a concert to benefit Matthew Leone, bassist for the rock band Madina Lake, at the Metro on July 27, 2010. In late 2010 all four members contributed to the sessions for the third volume of Teargarden.
On April 26, 2011, Corgan announced that the Smashing Pumpkins would be releasing a new album titled Oceania, which he labeled as "an album within an album" in regards to the Teargarden by Kaleidyscope project, in the fall. As with the previous recording sessions, all four band members contributed to the project. Also, the entire album catalog was to be remastered and reissued with bonus tracks, starting with Gish and Siamese Dream in November 2011. The pre-Gish demos, Pisces Iscariot, and Mellon Collie and the Infinite Sadness were released in 2012, with The Aeroplane Flies High released the following year. Adore was released in 2014, and Machina/The Machines of God and the yet commercially unreleased Machina II/Friends and Enemies of Modern Music are expected to be combined, remixed, and released in the same year. The band did a thirteen-city US tour in October 2011 followed by a European tour in November and December.
Oceania was released on June 19, 2012, and received generally positive reviews. The album debuted at No. 4 on the Billboard 200 and at No. 1 on the Billboard Independent. The album spawned two singles, "The Celestials" and "Panopticon". The band proceeded to tour in support of the album, including a US tour involving playing the album in its entirety. By September 2012, Corgan stated that the band had already begun work on their next album. However, despite this, the band concentrated on touring, playing at Glastonbury Festival, Dour Festival and the Barclays Center, where they recorded Oceania: Live in NYC, which was released on September 24, 2013.
Monuments to an Elegy: 2014–2016
On March 25, 2014, Corgan announced he had signed a new record deal with BMG, for two new albums, titled Monuments to an Elegy and Day for Night, respectively. In June, it was revealed that Mike Byrne was no longer in the band, to be replaced by Tommy Lee of Mötley Crüe on the new album, and Fiorentino would not be recording on the album either. Monuments to an Elegy was released on December 5, 2014, to generally positive reviews. The band toured in support of the album starting on November 26, with Rage Against the Machine's Brad Wilk filling in on drums and the Killers' Mark Stoermer filling in on bass. The follow-up proposed album Day For Night was cited for delayed late 2015 or early 2016 release.
Later in 2015 Corgan announced that the band would embark on a co-headlining tour of North America with Marilyn Manson, "The End Times Tour", across July and August 2015. Prior to the co-headlining dates, the band performed a series of acoustic shows with drum machines and tapes for percussion. When the time came for the co-headlining tour, plans for a drummer fell through and Corgan recruited Chamberlin to reunite for the shows. On February 1, 2016, it was announced that the band would continue their In Plainsong acoustic tour with Jimmy Chamberlin on drums and were planning to head "straight to the studio after the dates to record a brand new album inspired by the sounds explored in the new acoustic setting". On February 25, 2016, Corgan posted a video from a Los Angeles studio on the band's Facebook account, giving an update on the writing process for the new songs for the upcoming album to be released after the In Plainsong tour.
The tour began in Portland, Oregon, on March 22, 2016.
Iha and Chamberlin's return; Shiny and Oh So Bright and Cyr: 2018–present
On his birthday on March 26, 2016, original guitarist James Iha joined Billy Corgan, Jimmy Chamberlin, and Jeff Schroeder on stage unannounced at the Ace Hotel in downtown Los Angeles. He performed a few songs, including "Mayonaise", "Soma" and "Whir" marking his first appearance with the Smashing Pumpkins in 16 years. Iha also played at the second of the two Smashing Pumpkins shows at the Ace Hotel the following day, which was Easter Sunday. Iha joined the Pumpkins for a third time at their concert of April 14 at the Civic Opera House in Chicago. In July, Corgan began hinting of the possibility of reuniting the band original lineup, of himself, Iha, Wretzky, and Chamberlin, and in August, he stated he had begun reaching out to the original lineup about the feasibility of a reunion, including speaking to Wretzky for the first time in sixteen years. Despite the comments, Corgan would spend much of 2017 working on solo material – recording and releasing the solo album Ogilala and beginning work on another solo album for 2018. In June 2017 Chamberlin also mentioned the possibility of a reunion tour in 2018. In January 2018 Corgan shared a photo of himself, Iha, and Chamberlin together in recording studio. In February 2018 Corgan announced that he was working with music producer Rick Rubin on a future Smashing Pumpkins album, that there were currently 26 songs he was actively working on, and that "the guitar feels once again like the preferred weapon of choice." Soon afterwards, Corgan shared a photo of sound equipment with Iha's name on a label, as well as announcing recording was finished on the album.
On February 15, 2018, the band officially announced that founding members Iha and Chamberlin were back in the band. They embarked on the Shiny And Oh So Bright Tour starting in July, with a focus on performing material from their first five studio albums. and sold over 350,000 tickets and sold out arenas including The Forum, United Center, and Madison Square Garden. Original bassist D'arcy Wretzky claimed she had been offered a contract to rejoin the band but Corgan rescinded the offer soon after. Corgan released a statement denying the claims, stating "Ms. Wretzky has repeatedly been invited out to play with the group, participate in demo sessions, or at the very least, meet face-to-face, and in each and every instance she always deferred". Jack Bates (son of Joy Division bassist Peter Hook) played bass on the tour. Bates previously toured with the Smashing Pumpkins in 2015. Multi-instrumentalist Katie Cole rejoined the band for the tour as well, singing backup vocals and playing keyboards and guitar.
In March 2018, Corgan mentioned the band planned to release two EPs in 2018, with the first tentatively planned for May. On June 8, 2018, the first single from the set of music, "Solara", was released. On August 2, 2018, the band celebrated their 30th anniversary by performing in Holmdel, New Jersey. with several notable special guests including Courtney Love, Chino Moreno, Davey Havok, Peter Hook, Mark McGrath, and Dave Keuning and Mark Stoermer of The Killers. In September 2018, they announced the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun., released via Napalm Records on November 16, 2018, which debuted at number 54 on the Billboard 200 chart.
After touring through much of 2019, Corgan noted in January 2020 that the band was currently working on 21 songs for a future album release. On August 28, 2020, the band released the single and video for "Cyr", along with a second track titled "The Colour of Love" from their album Cyr, which was released through their new record label Sumerian Records on November 27, 2020. It serves as the second part of the Shiny and Oh So Bright series. On September 25, 2020, the band released another single from Cyr that included the songs "Confessions of a Dopamine Addict" and "Wrath". On October 9, 2020, the band released a third single for Cyr that featured the tracks "Anno Satana" and "Birch Grove". On October 29, the band released "Ramona" and "Wyttch" as the fourth pair of singles. On November 20, 2020, the songs "Purple Blood" and "Dulcet in E" were released as the fifth and final single for Cyr. The following week, on November 27, 2020, the band released Cyr. Despite never getting to properly tour Cyr, the band did play four songs from the album at their headlining shows at Riot Fest and Sea.Hear.Now Festival in September 2021.
In late 2020, Corgan announced that the band would begin work on another double album for release in 2021, although the year passed without the album releasing. The double album is to serve as a sequel to the overarching story of Mellon Collie and the Infinite Sadness and Machina: The Machines of God. On February 22, the band announced on social media the Rock Invasion 2 Tour, which had previously been set to take place in spring 2020, but had been postponed to fall 2020 and subsequently canceled due to the COVID-19 pandemic. The newly announced incarnation of the tour had entirely new locations spanning 11 US cities accompanying the band's spring festival appearances and four performances in Mexico, their first since 2013.
Musical style, influences, and legacy
The direction of the band is dominated by lead guitarist, lead vocalist, keyboardist, bassist and principal songwriter Billy Corgan. Journalist Greg Kot wrote, "The music [of the Smashing Pumpkins] would not be what it is without his ambition and vision, and his famously fractured relationships with his family, friends, and bandmembers." Melissa Auf der Maur commented upon news of the group's reunion, "Everyone knows Billy doesn't need too many people to make a Pumpkins record, other than Jimmy [Chamberlin]—who he has on board." In a 2015 interview Corgan himself referred to the current iteration of the band "as sort of an open source collective" noting that "It's whoever feels right at the time." Many of Corgan's lyrics for the Pumpkins are cathartic expressions of emotion, full of personal musings and strong indictments of himself and those close to him. Music critics were not often fans of Corgan's angst-filled lyrics. Jim DeRogatis wrote in a 1993 Chicago Sun-Times article that Corgan's lyrics "too often sound like sophomoric poetry", although he viewed the lyrics of later albums Adore and Machina as an improvement. The band's songs have been described as "anguished, bruised reports from Billy Corgan's nightmare-land" by journalist William Shaw.
Smashing Pumpkins, unlike many alternative rock bands at the time, disavowed the influence of punk rock on their sound. Overall, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and electronica in later recordings.
The Smashing Pumpkins' distinctive sound up until Adore involved layering numerous guitar tracks onto a song during the recording process, a tactic that Mellon Collie and the Infinite Sadness coproducer Flood called the "Pumpkin guitar overdub army." Although there were a lot of overdubbed parts on Gish, Corgan began to really explore the possibilities of overdubbing with Siamese Dream; Corgan has stated that "Soma" alone contains up to 40 overdubbed guitar parts. While Corgan knew many of the songs would be difficult or impossible to replicate from their recorded versions in concert (in fact, some songs were drastically altered for live performance), he has explained the use of overdubbing by posing the question "When you are faced with making a permanent recorded representation of a song, why not endow it with the grandest possible vision?" This use of multilayered sounds was inspired by Corgan's love of 1970s popular artists & bands such as: David Bowie, Cheap Trick, Queen, Boston, and the Electric Light Orchestra, as well as shoegaze, a British alternative rock style of the late 1980s and early 1990s that relied on swirling layers of guitar noise for effect. Mellon Collie coproducer Alan Moulder was originally hired to mix Siamese Dream because Corgan was a fan of his work producing shoegaze bands such as My Bloody Valentine, Ride, and Slowdive.
Like many contemporary alternative bands, the Smashing Pumpkins utilized shifts in song dynamics, going from quiet to loud and vice versa. Hüsker Dü's seminal album Zen Arcade demonstrated to the band how they could place gentler material against more aggressive fare, and Corgan made such shifts in dynamics central to the pursuit of his grand musical ambitions. Corgan said he liked the idea of creating his own alternative universe through sound that essentially tells the listener, "Welcome to Pumpkin Land, this is what it sounds like on Planet Pumpkin." This emphasis on atmosphere carried through to Adore (described as "arcane night music" in prerelease promotion) and the Machina albums (concept records that tell the story of a fictional rock band).
The Pumpkins drew inspiration from a variety of other genres, some unfashionable during the 1990s among music critics. Corgan in particular was open about his appreciation of heavy metal, citing Dimebag Darrell of Pantera as his favorite contemporary guitarist. When one interviewer commented to Corgan and Iha that "Smashing Pumpkins is one of the groups that relegitimized heavy metal" and that they "were among the first alternative rockers to mention people like Ozzy and Black Sabbath with anything other than contempt". Corgan went on to rave about Black Sabbath's Master of Reality and Judas Priest's Unleashed in the East. The song "Zero", which reminded Iha of Judas Priest, is an example of what the band dubbed "cybermetal." Post-punk and gothic rock bands like Joy Division/New Order, Bauhaus, the Cure, and Depeche Mode were formative influences on the band, which covered such artists in concert and on record. Corgan also cited Siouxsie and the Banshees saying it was important to point back to bands that influenced them. Psychedelic rock was also referenced often in the band's early recordings; according to Corgan, "In typical Pumpkins fashion, no one at that point really liked loud guitars or psychedelic music so, of course, that's exactly what we had to do." Corgan felt that the band's guitars "are a mixture of heavy metal and 80s alternative rock. I think of Cure and Siouxsie and the Banshees". Corgan acknowledged that a chord he jokingly claimed as "the Pumpkin chord" (a G# octave chord at the eleventh fret of a guitar with the low E string played over it), used as the basis for "Cherub Rock", "Drown", and other songs, was in fact previously used by Jimi Hendrix. Other early influences cited by Corgan include Cream, the Stooges, and Blue Cheer.
Regarding the band's influence upon other groups, Greg Kot wrote in 2001, "Whereas Nirvana spawned countless mini-Nirvanas, the Pumpkins remain an island unto themselves." Still, some artists and bands have been influenced by the Pumpkins, such as Nelly Furtado, Marilyn Manson, Third Eye Blind, Mark Hoppus of Blink-182, Tegan and Sara, Fall Out Boy, Rivers Cuomo, Panic! at the Disco, Silversun Pickups, and My Chemical Romance. My Chemical Romance vocalist Gerard Way has said that they pattern their career upon the Pumpkins', including music videos. The members of fellow Chicago band Kill Hannah are friends with Corgan, and lead singer Mat Devine has compared his group to the Pumpkins.
The group has sold over 30 million albums worldwide as of October 2012, and sales in the United States alone reaching 19.75 million.
Music videos
The Smashing Pumpkins have been praised as "responsible for some of the most striking and memorable video clips" and for having "approached videos from a completely artistic standpoint rather than mere commercials to sell albums". MTV's 2001 anniversary special Testimony: 20 Years of Rock on MTV credited the Pumpkins, along with Nine Inch Nails, with treating music videos as an art form during the 1990s. Corgan has said, "We generally resisted the idea of what I call the classic MTV rock video, which is like lots of people jumping around and stuff." The band worked with video directors including Kevin Kerslake ("Cherub Rock"), Samuel Bayer ("Bullet with Butterfly Wings"), and, most frequently, the team of Jonathan Dayton and Valerie Faris ("Rocket", "1979", "Tonight, Tonight", "The End Is the Beginning Is the End", and "Perfect"). Corgan, who was frequently heavily involved in the conception of the videos, said of Dayton and Faris, "I know my [initial] versions are always darker, and they're always talking me into something a little kinder and gentler." Videos like "Today", "Rocket", and "1979" dealt with images taken from middle American culture, albeit exaggerated. The group's videos so often avoid the literal interpretation of the song lyrics that the video for "Thirty-Three", with images closely related to the words of the song, was created as an intentional stylistic departure.
The band was nominated for several MTV Video Music Awards during the 1990s. In 1996, the group won eight VMAs total for the "1979" and "Tonight, Tonight" videos, including the top award, Video of the Year, for "Tonight, Tonight". The video was also nominated for a Grammy at the 1997 ceremony. Of the "Tonight, Tonight" video, Corgan remarked, "I don't think we've ever had people react [like this]... it just seemed to touch a nerve."
Shortly after the band's 2000 breakup, the Greatest Hits Video Collection was released, collecting the band's music videos from 1991 to 2000 and including commentary from Corgan, Iha, Chamberlin, Wretzky, and various music video directors with outtakes, live performances, and the extended "Try, Try, Try" short film.
Band members
Current members
Billy Corgan – lead vocals, guitars, keyboards, bass guitar (1988–2000, 2006–present)
James Iha – guitars, bass guitar, vocals (1988–2000, 2018–present)
Jimmy Chamberlin – drums (1988–1996, 1998–2000, 2006–2009, 2015–present)
Jeff Schroeder – guitars, keyboards (2007–present)
Live members
Jack Bates – bass guitar (2015–present)
Katie Cole – keyboards, backing vocals (2015–present)
Former members
D'arcy Wretzky – bass guitar, backing vocals (1988–1999)
Melissa Auf der Maur – bass guitar (1999–2000)
Mike Byrne – drums, backing vocals, keyboards (2009–2014)
Nicole Fiorentino – bass guitar, backing vocals, keyboards (2010–2014)
Awards
American Music Awards
1997 – Best Alternative Artist
Grammy Awards
1997 – "Bullet with Butterfly Wings" – Best Hard Rock Performance
1998 – "The End Is the Beginning Is the End" – Best Hard Rock Performance
MTV Europe Music Awards
1996 – Best Rock
MTV Video Music Awards
1996 – "Tonight, Tonight" – Video of the Year, Breakthrough Video, Best Direction, Best Visual Effects, Best Art Direction, Best Cinematography
1996 – "1979" – Best Alternative Video
Discography
Studio albums
Gish (1991)
Siamese Dream (1993)
Mellon Collie and the Infinite Sadness (1995)
Adore (1998)
Machina/The Machines of God (2000)
Machina II/The Friends & Enemies of Modern Music (2000)
Zeitgeist (2007)
Oceania (2012)†
Monuments to an Elegy (2014)†
Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018)
Cyr (2020)
Notes
† Part of Teargarden by Kaleidyscope (2009–2014), an overarching project abandoned before completion.
See also
List of artists who reached number one on the U.S. alternative rock chart
Notes
References
Bibliography
Further reading
External links
1988 establishments in Illinois
Alternative rock groups from Chicago
Articles which contain graphical timelines
Caroline Records artists
Grammy Award winners
MTV Europe Music Award winners
Musical groups established in 1988
Musical groups disestablished in 2000
Musical groups reestablished in 2006
Musical quartets
American musical trios
Reprise Records artists
Sumerian Records artists
Virgin Records artists
Musical groups from Chicago
| true |
[
"West Coast Bad Boyz, Vol. 1: Anotha Level of the Game is the first compilation album released by No Limit Records. It was originally released on August 9, 1994, but was later re-released on July 22, 1997. Due to it being a re-release, the album couldn't make it to the Billboard 200 or any other regular charts, but it did make it to #1 on the Top R&B/Hip-Hop Catalog Albums. Due to a beef between Master P and King George, Two songs that featured George [Locked Up and Peace 2 Da Streets] were not included on the 1997 re-release.\n\nTrack listing \nWest Coast Bad Boyz, Vol. 1: Anotha Level of the Game\n\nReferences\n\nHip hop compilation albums\n1994 compilation albums\nNo Limit Records compilation albums\nPriority Records compilation albums\nGangsta rap compilation albums",
"The discography of Pam Tillis, an American country music singer, consists of 13 studio albums and 45 singles. Her first release, Above and Beyond the Doll of Cutey in 1983, did not produce any major hits. Between 1990 and 2001, she recorded for Arista Nashville, achieving two gold albums and three platinum albums. 33 of her singles for Arista, plus a cut for the soundtrack to Happy, Texas, all made the Hot Country Songs in that timespan. Her only number one was \"Mi Vida Loca (My Crazy Life)\", although twelve other songs reached the top 10 on the same chart.\n\nStudio albums\n\n1980s–1990s\n\n2000s–2020s\n\nCompilation albums\n\nSingles\n\n1980s–1990s\n\n2000s–2020s\n\nAs a featured artist\n\nOther album appearances\n\nMusic videos\n\nGuest appearances\n\nNotes\n\nReferences\n\nCountry music discographies\n \n \nDiscographies of American artists"
] |
[
"The Smashing Pumpkins",
"Mainstream breakout: 1992-1994",
"How did the smashing pumpkins Breakout in 1992?",
"Amid this environment of intense internal pressure for the band to break through to widespread popularity,",
"did they publish any albums during this time?",
"late 1992 to begin work on their second album, with Butch Vig returning as producer.",
"what as the name of their second album?",
"The recording environment for Siamese Dream was quickly marred by discord within the band.",
"Did they end up producing this album?",
"In all, it took over four months to complete the record, with the budget exceeding $250,000.",
"How well was it received?",
"Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone.",
"Did they win any awards during this time?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"the band's reputation as careerists among their former peers in the independent music community was worsened.",
"Why had it worsened?",
"Indie rock band Pavement's 1994 song \"Range Life\" directly mocks the band in its lyrics,",
"Did they release any other albums between 1992-1994?",
"Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage."
] |
C_27a494717f8d47cfa84878b93037e00f_0
|
Was there any other bands on the VHS cassette?
| 10 |
Was there any other bands on the VHS cassette besides The Smashing Pumpkins?
|
The Smashing Pumpkins
|
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'." Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000. Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Husker Du frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world". In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album. CANNOTANSWER
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CANNOTANSWER
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The Smashing Pumpkins (or Smashing Pumpkins) are an American alternative rock band from Chicago. Formed in 1988 by frontman Billy Corgan (lead vocals, guitar), D'arcy Wretzky (bass), James Iha (guitar), and Jimmy Chamberlin (drums), the band has undergone many line-up changes. The current lineup features Corgan, Chamberlin, Iha and guitarist Jeff Schroeder.
Disavowing the punk rock roots of many of their alt-rock contemporaries, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and, in later recordings, electronica. Corgan is the group's primary songwriter; his musical ambitions and cathartic lyrics have shaped the band's albums and songs, which have been described as "anguished, bruised reports from Billy Corgan's nightmare-land".
The Smashing Pumpkins broke into the musical mainstream with their second album, 1993's Siamese Dream. The group built its audience with extensive touring and their 1995 follow-up, the double album Mellon Collie and the Infinite Sadness, debuted at number one on the Billboard 200 album chart. With 30 million albums sold worldwide, the Smashing Pumpkins were one of the most commercially successful and critically acclaimed bands of the 1990s. However, internal fighting, drug use, and diminishing record sales led to a 2000 break-up.
In 2006, Corgan and Chamberlin reconvened to record a new Smashing Pumpkins album, Zeitgeist. After touring throughout 2007 and 2008 with a lineup including new guitarist Jeff Schroeder, Chamberlin left the band in early 2009. Later that year, Corgan began a new recording series with a rotating lineup of musicians entitled Teargarden by Kaleidyscope, which encompassed the release of stand-alone singles, compilation EP releases, and two full albums that also fell under the project's scope—Oceania in 2012 and Monuments to an Elegy in 2014. Chamberlin and Iha officially rejoined the band in February 2018. The reunited lineup released the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. in November 2018 and Cyr in November 2020.
History
Early years: 1988–1991
After the breakup of his gothic rock band The Marked, singer and guitarist Billy Corgan left St. Petersburg, Florida, to return to his native city of Chicago, where he took a job in a record store and formed the idea of a new band to be called the Smashing Pumpkins. While working there, he met guitarist James Iha. Adorning themselves with paisley and other psychedelic trappings, the two began writing songs together (with the aid of a drum machine) that were heavily influenced by the Cure and New Order. The duo performed live for the first time on July 9, 1988 at the Polish bar Chicago 21. This performance included only Corgan on bass and Iha on guitar with a drum machine. Shortly thereafter, Corgan met D'arcy Wretzky after a show by the Dan Reed Network where they argued the merits of the band. After finding out Wretzky played bass guitar, Corgan recruited her into the lineup, and the trio played a show at the Avalon Nightclub. After this show, Cabaret Metro owner Joe Shanahan agreed to book the band on the condition that they replace the drum
machine with a live drummer.
Jazz drummer Jimmy Chamberlin was recommended by a friend of Corgan's. Chamberlin knew little of alternative music and immediately changed the sound of the nascent band. As Corgan recalled of the period, "We were completely into the sad-rock, Cure kind of thing. It took about two or three practices before I realized that the power in his playing was something that enabled us to rock harder than we could ever have imagined." On October 5, 1988, the complete band took the stage for the first time at the Cabaret Metro.
In 1989, the Smashing Pumpkins made their first appearance on record with the compilation album Light Into Dark, which featured several Chicago alternative bands. The group released its first single, "I Am One", in 1990 on local Chicago label Limited Potential. The single sold out and they released a follow-up, "Tristessa", on Sub Pop, after which they signed to Caroline Records. The band recorded their 1991 debut studio album Gish with producer Butch Vig at his Smart Studios in Madison, Wisconsin for $20,000. In order to gain the consistency he desired, Corgan often played all instruments excluding drums, which created tension in the band. The music fused heavy metal guitars, psychedelia, and dream pop, garnering them comparisons to Jane's Addiction. Gish became a minor success, with the single "Rhinoceros" receiving some airplay on modern rock radio. After releasing the Lull EP in October 1991 on Caroline Records, the band formally signed with Virgin Records, which was affiliated with Caroline. The band supported the album with a tour that included opening for bands such as the Red Hot Chili Peppers, Jane's Addiction, and Guns N' Roses. During the tour, Iha and Wretzky went through a messy breakup, Chamberlin became addicted to narcotics and alcohol, and Corgan entered a deep depression, writing some songs for the upcoming album in the parking garage where he lived at the time.
Mainstream breakout and Siamese Dream: 1992–1994
With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'."
Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000.
Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Hüsker Dü frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world".
In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album.
Mellon Collie and the Infinite Sadness: 1995–1997
During 1995, Corgan wrote about 56 songs, following which the band went into the studio with producers Flood and Alan Moulder to work on what Corgan described as "The Wall for Generation X", and which became Mellon Collie and the Infinite Sadness, a double album of twenty-eight songs, lasting over two hours (the vinyl version of the album contained three records, two extra songs, and an alternate track listing). The songs were intended to hang together conceptually as a symbol of the cycle of life and death. Praised by Time as "the group's most ambitious and accomplished work yet", Mellon Collie debuted at number one on the Billboard 200 in October 1995. Even more successful than Siamese Dream, it was certified ten times platinum in the United States and became the best-selling double album of the decade. It also garnered seven 1997 Grammy Award nominations, including Album of the Year. The band won only the Best Hard Rock Performance award, for the album's lead single "Bullet with Butterfly Wings". The album spawned five singles—"Bullet with Butterfly Wings", "1979", "Zero", "Tonight, Tonight" which Corgan stated was inspired by the Cheap Trick song "I'll Be with You Tonight", and "Thirty-Three"—of which the first three were certified gold and all but "Zero" entered the Top 40. Many of the songs that did not make it onto Mellon Collie were released as B-sides to the singles, and were later compiled in The Aeroplane Flies High box set. The set was originally limited to 200,000 copies, but more were produced to meet demand.
In 1996 the Pumpkins undertook an extended world tour in support of Mellon Collie. Corgan's look during this period—a shaved head, a long sleeve black shirt with the word "Zero" printed on it, and silver pants—became iconic. That year, the band also made a guest appearance in an episode of The Simpsons, "Homerpalooza". With considerable video rotation on MTV, major industry awards, and "Zero" shirts selling in many malls, the Pumpkins were considered one of the most popular bands of the time.
In May, the Smashing Pumpkins played a gig at the Point Theatre in Dublin, Ireland. Despite the band's repeated requests for moshing to stop, a seventeen-year-old fan named Bernadette O'Brien was crushed to death. The concert ended early and the following night's performance in Belfast was cancelled out of respect for her. However, while Corgan maintained that moshing's "time [had] come and gone", the band would continue to request open-floor concerts throughout the rest of the tour.
The band suffered a personal tragedy on the night of July 11, 1996, when touring keyboardist Jonathan Melvoin and Chamberlin overdosed on heroin in a hotel room in New York City. Melvoin died, and Chamberlin was arrested for drug possession. A few days later, the band announced that Chamberlin had been fired as a result of the incident. The Pumpkins chose to finish the tour, and hired drummer Matt Walker and keyboardist Dennis Flemion. Corgan later said the decision to continue touring was the worst decision the band had ever made, damaging both their music and their reputation. Chamberlin admitted in a 1994 Rolling Stone cover story that in the past he'd "gotten high in every city in this country and probably half the cities in Europe." But in recent years, he had reportedly been clean. On July 17, the Pumpkins issued a statement in which they said, "For nine years we have battled with Jimmy's struggles with the insidious disease of drug and alcohol addiction. It has nearly destroyed everything we are and stand for. … We wish [him] the best we have to offer". Meanwhile, the band had given interviews since the release of Mellon Collie stating that it would be the last conventional Pumpkins record, and that rock was becoming stale. James Iha said at the end of 1996, "The future is in electronic music. It really seems boring just to play rock music."
Adore, Machina, and breakup: 1998–2000
After the release of Mellon Collie, the Pumpkins contributed many songs to various compilations. Released in early 1997, the song "Eye", which appeared on the soundtrack to David Lynch's Lost Highway, relied almost exclusively on electronic instruments and signaled a drastic shift from the Pumpkins' previous musical styles. At the time, Corgan stated his "idea [was] to reconfigure the focus and get away from the classic guitars-bass-drum rock format." Later that year, the group contributed "The End Is the Beginning Is the End" to the soundtrack for the film Batman & Robin. With Matt Walker on drums, the song featured a heavy sound similar to "Bullet with Butterfly Wings" while still having strong electronic influences. The song later won the 1998 Grammy for Best Hard Rock Performance. Though Corgan announced that the song represented the sound people could expect from the band in the future, the band's next album would feature few guitar-driven songs.
Recorded following the death of Corgan's mother and his divorce, 1998's Adore represented a significant change of style from the Pumpkins' previous guitar-based rock, veering into electronica. The record, cut with assistance from drum machines and studio drummers including Matt Walker, was infused with a darker aesthetic than much of the band's earlier work. The group also modified its public image, shedding its alternative rock look for a more subdued appearance. Although Adore received favorable reviews and was nominated for Best Alternative Performance at the Grammy Awards, the album had only sold about 830,000 copies in the United States by the end of the year. The album nonetheless debuted at number 2 on the Billboard 200 and sold three times as many copies overseas. The band began a seventeen-date, fifteen-city charity North American tour in support of Adore. At each stop on the tour, the band donated 100 percent of tickets sales to a local charity organization. The tour's expenses were entirely funded out of the band's own pockets. All told, the band donated over $2.8 million to charity as a result of the tour. On October 31, 1998 during Halloween, the band opened for Kiss at Dodger Stadium in Los Angeles, dressed in costume as The Beatles.
In 1999 the band surprised fans by reuniting with a rehabilitated Jimmy Chamberlin for a brief tour dubbed "The Arising", which showcased both new and classic material. The lineup was short-lived, however, as the band announced the departure of Wretzky in September during work on the album Machina/The Machines of God. Former Hole bassist Melissa Auf der Maur was recruited for the "Sacred and Profane" tour in support of the album and appeared in the videos accompanying its release. Released in 2000, Machina was initially promoted as the Pumpkins' return to a more traditional rock sound, after the more gothic, electronic-sounding Adore. The album debuted at number three on the Billboard charts, but quickly disappeared and as of 2007 had only been certified gold. Music journalist Jim DeRogatis, who described the album as "one of the strongest of their career", noted that the stalled sales for Machina in comparison to teen pop ascendant at the time "seems like concrete proof that a new wave of young pop fans has turned a deaf ear toward alternative rock."
On May 23, 2000, in a live radio interview on KROQ-FM (Los Angeles), Billy Corgan announced the band's decision to break up at the end of that year following additional touring and recording. The group's final album before the break-up, Machina II/The Friends & Enemies of Modern Music, was released in September 2000 in a limited pressing on vinyl with permission and instructions for free redistribution on the Internet by fans. Only twenty-five copies were cut, each of which was hand numbered and given to friends of the band along with band members themselves. The album, released under the Constantinople Records label created by Corgan, consisted of one double LP and three ten-inch EPs. Originally, the band asked Virgin to offer Machina II as a free download to anyone who bought Machina. When the record label declined, Corgan opted to release the material independently.
On December 2, 2000, Smashing Pumpkins played a farewell concert at The Metro, the same Chicago club where their career had effectively started twelve years earlier. The four-and-a-half-hour-long show featured 35 songs spanning the group's career, and attendees were given a recording of the band's first concert at The Metro, Live at Cabaret Metro 10-5-88. The single "Untitled" was released commercially to coincide with the farewell show.
Post-breakup: 2001–2004
In 2001 the compilation Rotten Apples was released. The double-disc version of the album, released as a limited edition, included a collection of B-sides and rarities called Judas O. The Greatest Hits Video Collection DVD was also released at the same time. This was a compilation of all of the Pumpkins promo videos from Gish to Machina along with unreleased material. Vieuphoria was released on DVD in 2002, as was the soundtrack album Earphoria, previously released solely to radio stations in 1994.
Billy Corgan and Jimmy Chamberlin reunited in 2001 as members of Corgan's next project, the short-lived supergroup Zwan. The group's only album, Mary Star of the Sea, was released in 2003. After cancelling a few festival appearances, Corgan announced the demise of the band in 2003. During 2001 Corgan also toured as part of New Order and provided vocals on their comeback album Get Ready. In October 2004 Corgan released his first book, Blinking with Fists, a collection of poetry. In June 2005, he released a solo album, TheFutureEmbrace, which he described as "(picking) up the thread of the as-yet-unfinished work of the Smashing Pumpkins". Despite this, it was greeted with generally mixed reviews and lackluster sales. Only one single, "Walking Shade", was released in support of the album.
In addition to drumming with Zwan, Jimmy Chamberlin also formed an alternative rock/jazz fusion project band called Jimmy Chamberlin Complex. The group released an album in 2005 titled Life Begins Again. Corgan provided guest vocals on the track "Lokicat". James Iha served as a guitarist in A Perfect Circle, appearing on their Thirteenth Step club tour and 2004 album, eMOTIVe. He has also been involved with other acts such as Chino Moreno's Team Sleep and Vanessa and the O's. He continues to work with Scratchie Records, his own record label, as well. D'arcy Wretzky has, aside from one radio interview in 2009, not made any public statements or appearances nor given any interviews since leaving the band in 1999. On January 25, 2000, she was arrested after she allegedly purchased three bags of cocaine, but after successfully completing a court-ordered drug education program, the charges were dropped.
Corgan insisted during this period that the band would not reform, although when Zwan broke up he announced, "I think my heart was in Smashing Pumpkins […] I think it was naive of me to think that I could find something that would mean as much to me." Corgan said in 2005, "I never wanted to leave the Smashing Pumpkins. That was never the plan." On February 17, 2004, Corgan posted a message on his personal blog calling Wretzky a "mean-spirited drug addict" and blaming Iha for the breakup of the Smashing Pumpkins. On June 3, 2004, he added that "the depth of my hurt [from Iha] is only matched with the depth of my gratitude". Iha responded to Corgan's claims in 2005, saying, "No, I didn't break up the band. The only person who could have done that is Billy."
Reformation and Zeitgeist: 2005–2008
On June 21, 2005, the day of the release of his first solo album TheFutureEmbrace, Corgan took out full-page advertisements in the Chicago Tribune and Chicago Sun-Times to announce that he planned to reunite the band. "For a year now", Corgan wrote, "I have walked around with a secret, a secret I chose to keep. But now I want you to be among the first to know that I have made plans to renew and revive the Smashing Pumpkins. I want my band back, and my songs, and my dreams". Corgan and Chamberlin were verified as participants in the reunion, but there was question as to whether other former members of the band would participate.
In April 2007 Iha and Auf der Maur separately confirmed that they were not taking part in the reunion. Chamberlin would later state that Iha and Wretzky "didn't want to be a part of" the reunion. The Smashing Pumpkins performed live for the first time since 2000 on May 22, 2007, in Paris, France. There, the band unveiled new touring members: guitarist Jeff Schroeder, bassist Ginger Reyes, and keyboardist Lisa Harriton. That same month, "Tarantula" was released as the first single from the band's forthcoming album. On July 7, the band performed at the Live Earth concert in New Jersey.
The band's new album, Zeitgeist, was released that same month on Reprise Records, entering the Billboard charts at number two and selling 145,000 copies in its first week. Zeitgeist received mixed reviews, with much of the criticism targeted at the absence of half of the original lineup. The album divided the Pumpkins' fanbase. Corgan would later admit, "I know a lot of our fans are puzzled by Zeitgeist. I think they wanted this massive, grandiose work, but you don't just roll out of bed after seven years without a functioning band and go back to doing that".
Corgan and Chamberlin continued to record as a duo, releasing the four-song EP American Gothic in January 2008 and the singles "Superchrist" and "G.L.O.W." later that year. That November, the group released the DVD If All Goes Wrong, which chronicled the group's 2007 concert residences in Asheville, North Carolina and San Francisco, California. In late 2008, the band commenced on a controversy-riddled 20th Anniversary Tour. Around this time, Corgan said the group will make no more full-length records in order to focus exclusively on singles, explaining, "The listening patterns have changed, so why are we killing ourselves to do albums, to create balance, and do the arty track to set up the single? It's done."
Teargarden and Oceania: 2009–2013
In March 2009 Corgan announced on the band's website that Chamberlin had left the group and would be replaced. Chamberlin subsequently stated that his departure from the band is "a positive move forward for me. I can no longer commit all of my energy into something that I don't fully possess." Chamberlin stressed that the split was amicable, commenting, "I am glad [Corgan] has chosen to continue under the name. It is his right." Chamberlin soon formed the band Skysaw, which has released an album and toured in support of Minus the Bear. In July 2009 Billy Corgan formed a new group called Spirits in the Sky, initially as a tribute band to Sky Saxon of the Seeds, who had recently died. The following month Corgan confirmed on the band's website that 19-year-old Spirits in the Sky drummer Mike Byrne had replaced Chamberlin and that the pair was working on new Pumpkins recordings.
The group announced plans to release a 44-track concept album, Teargarden by Kaleidyscope, for free over the Internet one track at a time. The first track, "A Song for a Son", was released in December 2009 to moderate press acclaim. In March 2010 Ginger Reyes officially left the band, prompting an open call for auditions for a new bassist. In May, Nicole Fiorentino announced she had joined the band as bass player, and would be working on Teargarden by Kaleidyscope. The new lineup went on a world tour through to the end of 2010. One of the first shows with the new lineup was a concert to benefit Matthew Leone, bassist for the rock band Madina Lake, at the Metro on July 27, 2010. In late 2010 all four members contributed to the sessions for the third volume of Teargarden.
On April 26, 2011, Corgan announced that the Smashing Pumpkins would be releasing a new album titled Oceania, which he labeled as "an album within an album" in regards to the Teargarden by Kaleidyscope project, in the fall. As with the previous recording sessions, all four band members contributed to the project. Also, the entire album catalog was to be remastered and reissued with bonus tracks, starting with Gish and Siamese Dream in November 2011. The pre-Gish demos, Pisces Iscariot, and Mellon Collie and the Infinite Sadness were released in 2012, with The Aeroplane Flies High released the following year. Adore was released in 2014, and Machina/The Machines of God and the yet commercially unreleased Machina II/Friends and Enemies of Modern Music are expected to be combined, remixed, and released in the same year. The band did a thirteen-city US tour in October 2011 followed by a European tour in November and December.
Oceania was released on June 19, 2012, and received generally positive reviews. The album debuted at No. 4 on the Billboard 200 and at No. 1 on the Billboard Independent. The album spawned two singles, "The Celestials" and "Panopticon". The band proceeded to tour in support of the album, including a US tour involving playing the album in its entirety. By September 2012, Corgan stated that the band had already begun work on their next album. However, despite this, the band concentrated on touring, playing at Glastonbury Festival, Dour Festival and the Barclays Center, where they recorded Oceania: Live in NYC, which was released on September 24, 2013.
Monuments to an Elegy: 2014–2016
On March 25, 2014, Corgan announced he had signed a new record deal with BMG, for two new albums, titled Monuments to an Elegy and Day for Night, respectively. In June, it was revealed that Mike Byrne was no longer in the band, to be replaced by Tommy Lee of Mötley Crüe on the new album, and Fiorentino would not be recording on the album either. Monuments to an Elegy was released on December 5, 2014, to generally positive reviews. The band toured in support of the album starting on November 26, with Rage Against the Machine's Brad Wilk filling in on drums and the Killers' Mark Stoermer filling in on bass. The follow-up proposed album Day For Night was cited for delayed late 2015 or early 2016 release.
Later in 2015 Corgan announced that the band would embark on a co-headlining tour of North America with Marilyn Manson, "The End Times Tour", across July and August 2015. Prior to the co-headlining dates, the band performed a series of acoustic shows with drum machines and tapes for percussion. When the time came for the co-headlining tour, plans for a drummer fell through and Corgan recruited Chamberlin to reunite for the shows. On February 1, 2016, it was announced that the band would continue their In Plainsong acoustic tour with Jimmy Chamberlin on drums and were planning to head "straight to the studio after the dates to record a brand new album inspired by the sounds explored in the new acoustic setting". On February 25, 2016, Corgan posted a video from a Los Angeles studio on the band's Facebook account, giving an update on the writing process for the new songs for the upcoming album to be released after the In Plainsong tour.
The tour began in Portland, Oregon, on March 22, 2016.
Iha and Chamberlin's return; Shiny and Oh So Bright and Cyr: 2018–present
On his birthday on March 26, 2016, original guitarist James Iha joined Billy Corgan, Jimmy Chamberlin, and Jeff Schroeder on stage unannounced at the Ace Hotel in downtown Los Angeles. He performed a few songs, including "Mayonaise", "Soma" and "Whir" marking his first appearance with the Smashing Pumpkins in 16 years. Iha also played at the second of the two Smashing Pumpkins shows at the Ace Hotel the following day, which was Easter Sunday. Iha joined the Pumpkins for a third time at their concert of April 14 at the Civic Opera House in Chicago. In July, Corgan began hinting of the possibility of reuniting the band original lineup, of himself, Iha, Wretzky, and Chamberlin, and in August, he stated he had begun reaching out to the original lineup about the feasibility of a reunion, including speaking to Wretzky for the first time in sixteen years. Despite the comments, Corgan would spend much of 2017 working on solo material – recording and releasing the solo album Ogilala and beginning work on another solo album for 2018. In June 2017 Chamberlin also mentioned the possibility of a reunion tour in 2018. In January 2018 Corgan shared a photo of himself, Iha, and Chamberlin together in recording studio. In February 2018 Corgan announced that he was working with music producer Rick Rubin on a future Smashing Pumpkins album, that there were currently 26 songs he was actively working on, and that "the guitar feels once again like the preferred weapon of choice." Soon afterwards, Corgan shared a photo of sound equipment with Iha's name on a label, as well as announcing recording was finished on the album.
On February 15, 2018, the band officially announced that founding members Iha and Chamberlin were back in the band. They embarked on the Shiny And Oh So Bright Tour starting in July, with a focus on performing material from their first five studio albums. and sold over 350,000 tickets and sold out arenas including The Forum, United Center, and Madison Square Garden. Original bassist D'arcy Wretzky claimed she had been offered a contract to rejoin the band but Corgan rescinded the offer soon after. Corgan released a statement denying the claims, stating "Ms. Wretzky has repeatedly been invited out to play with the group, participate in demo sessions, or at the very least, meet face-to-face, and in each and every instance she always deferred". Jack Bates (son of Joy Division bassist Peter Hook) played bass on the tour. Bates previously toured with the Smashing Pumpkins in 2015. Multi-instrumentalist Katie Cole rejoined the band for the tour as well, singing backup vocals and playing keyboards and guitar.
In March 2018, Corgan mentioned the band planned to release two EPs in 2018, with the first tentatively planned for May. On June 8, 2018, the first single from the set of music, "Solara", was released. On August 2, 2018, the band celebrated their 30th anniversary by performing in Holmdel, New Jersey. with several notable special guests including Courtney Love, Chino Moreno, Davey Havok, Peter Hook, Mark McGrath, and Dave Keuning and Mark Stoermer of The Killers. In September 2018, they announced the album Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun., released via Napalm Records on November 16, 2018, which debuted at number 54 on the Billboard 200 chart.
After touring through much of 2019, Corgan noted in January 2020 that the band was currently working on 21 songs for a future album release. On August 28, 2020, the band released the single and video for "Cyr", along with a second track titled "The Colour of Love" from their album Cyr, which was released through their new record label Sumerian Records on November 27, 2020. It serves as the second part of the Shiny and Oh So Bright series. On September 25, 2020, the band released another single from Cyr that included the songs "Confessions of a Dopamine Addict" and "Wrath". On October 9, 2020, the band released a third single for Cyr that featured the tracks "Anno Satana" and "Birch Grove". On October 29, the band released "Ramona" and "Wyttch" as the fourth pair of singles. On November 20, 2020, the songs "Purple Blood" and "Dulcet in E" were released as the fifth and final single for Cyr. The following week, on November 27, 2020, the band released Cyr. Despite never getting to properly tour Cyr, the band did play four songs from the album at their headlining shows at Riot Fest and Sea.Hear.Now Festival in September 2021.
In late 2020, Corgan announced that the band would begin work on another double album for release in 2021, although the year passed without the album releasing. The double album is to serve as a sequel to the overarching story of Mellon Collie and the Infinite Sadness and Machina: The Machines of God. On February 22, the band announced on social media the Rock Invasion 2 Tour, which had previously been set to take place in spring 2020, but had been postponed to fall 2020 and subsequently canceled due to the COVID-19 pandemic. The newly announced incarnation of the tour had entirely new locations spanning 11 US cities accompanying the band's spring festival appearances and four performances in Mexico, their first since 2013.
Musical style, influences, and legacy
The direction of the band is dominated by lead guitarist, lead vocalist, keyboardist, bassist and principal songwriter Billy Corgan. Journalist Greg Kot wrote, "The music [of the Smashing Pumpkins] would not be what it is without his ambition and vision, and his famously fractured relationships with his family, friends, and bandmembers." Melissa Auf der Maur commented upon news of the group's reunion, "Everyone knows Billy doesn't need too many people to make a Pumpkins record, other than Jimmy [Chamberlin]—who he has on board." In a 2015 interview Corgan himself referred to the current iteration of the band "as sort of an open source collective" noting that "It's whoever feels right at the time." Many of Corgan's lyrics for the Pumpkins are cathartic expressions of emotion, full of personal musings and strong indictments of himself and those close to him. Music critics were not often fans of Corgan's angst-filled lyrics. Jim DeRogatis wrote in a 1993 Chicago Sun-Times article that Corgan's lyrics "too often sound like sophomoric poetry", although he viewed the lyrics of later albums Adore and Machina as an improvement. The band's songs have been described as "anguished, bruised reports from Billy Corgan's nightmare-land" by journalist William Shaw.
Smashing Pumpkins, unlike many alternative rock bands at the time, disavowed the influence of punk rock on their sound. Overall, they have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and electronica in later recordings.
The Smashing Pumpkins' distinctive sound up until Adore involved layering numerous guitar tracks onto a song during the recording process, a tactic that Mellon Collie and the Infinite Sadness coproducer Flood called the "Pumpkin guitar overdub army." Although there were a lot of overdubbed parts on Gish, Corgan began to really explore the possibilities of overdubbing with Siamese Dream; Corgan has stated that "Soma" alone contains up to 40 overdubbed guitar parts. While Corgan knew many of the songs would be difficult or impossible to replicate from their recorded versions in concert (in fact, some songs were drastically altered for live performance), he has explained the use of overdubbing by posing the question "When you are faced with making a permanent recorded representation of a song, why not endow it with the grandest possible vision?" This use of multilayered sounds was inspired by Corgan's love of 1970s popular artists & bands such as: David Bowie, Cheap Trick, Queen, Boston, and the Electric Light Orchestra, as well as shoegaze, a British alternative rock style of the late 1980s and early 1990s that relied on swirling layers of guitar noise for effect. Mellon Collie coproducer Alan Moulder was originally hired to mix Siamese Dream because Corgan was a fan of his work producing shoegaze bands such as My Bloody Valentine, Ride, and Slowdive.
Like many contemporary alternative bands, the Smashing Pumpkins utilized shifts in song dynamics, going from quiet to loud and vice versa. Hüsker Dü's seminal album Zen Arcade demonstrated to the band how they could place gentler material against more aggressive fare, and Corgan made such shifts in dynamics central to the pursuit of his grand musical ambitions. Corgan said he liked the idea of creating his own alternative universe through sound that essentially tells the listener, "Welcome to Pumpkin Land, this is what it sounds like on Planet Pumpkin." This emphasis on atmosphere carried through to Adore (described as "arcane night music" in prerelease promotion) and the Machina albums (concept records that tell the story of a fictional rock band).
The Pumpkins drew inspiration from a variety of other genres, some unfashionable during the 1990s among music critics. Corgan in particular was open about his appreciation of heavy metal, citing Dimebag Darrell of Pantera as his favorite contemporary guitarist. When one interviewer commented to Corgan and Iha that "Smashing Pumpkins is one of the groups that relegitimized heavy metal" and that they "were among the first alternative rockers to mention people like Ozzy and Black Sabbath with anything other than contempt". Corgan went on to rave about Black Sabbath's Master of Reality and Judas Priest's Unleashed in the East. The song "Zero", which reminded Iha of Judas Priest, is an example of what the band dubbed "cybermetal." Post-punk and gothic rock bands like Joy Division/New Order, Bauhaus, the Cure, and Depeche Mode were formative influences on the band, which covered such artists in concert and on record. Corgan also cited Siouxsie and the Banshees saying it was important to point back to bands that influenced them. Psychedelic rock was also referenced often in the band's early recordings; according to Corgan, "In typical Pumpkins fashion, no one at that point really liked loud guitars or psychedelic music so, of course, that's exactly what we had to do." Corgan felt that the band's guitars "are a mixture of heavy metal and 80s alternative rock. I think of Cure and Siouxsie and the Banshees". Corgan acknowledged that a chord he jokingly claimed as "the Pumpkin chord" (a G# octave chord at the eleventh fret of a guitar with the low E string played over it), used as the basis for "Cherub Rock", "Drown", and other songs, was in fact previously used by Jimi Hendrix. Other early influences cited by Corgan include Cream, the Stooges, and Blue Cheer.
Regarding the band's influence upon other groups, Greg Kot wrote in 2001, "Whereas Nirvana spawned countless mini-Nirvanas, the Pumpkins remain an island unto themselves." Still, some artists and bands have been influenced by the Pumpkins, such as Nelly Furtado, Marilyn Manson, Third Eye Blind, Mark Hoppus of Blink-182, Tegan and Sara, Fall Out Boy, Rivers Cuomo, Panic! at the Disco, Silversun Pickups, and My Chemical Romance. My Chemical Romance vocalist Gerard Way has said that they pattern their career upon the Pumpkins', including music videos. The members of fellow Chicago band Kill Hannah are friends with Corgan, and lead singer Mat Devine has compared his group to the Pumpkins.
The group has sold over 30 million albums worldwide as of October 2012, and sales in the United States alone reaching 19.75 million.
Music videos
The Smashing Pumpkins have been praised as "responsible for some of the most striking and memorable video clips" and for having "approached videos from a completely artistic standpoint rather than mere commercials to sell albums". MTV's 2001 anniversary special Testimony: 20 Years of Rock on MTV credited the Pumpkins, along with Nine Inch Nails, with treating music videos as an art form during the 1990s. Corgan has said, "We generally resisted the idea of what I call the classic MTV rock video, which is like lots of people jumping around and stuff." The band worked with video directors including Kevin Kerslake ("Cherub Rock"), Samuel Bayer ("Bullet with Butterfly Wings"), and, most frequently, the team of Jonathan Dayton and Valerie Faris ("Rocket", "1979", "Tonight, Tonight", "The End Is the Beginning Is the End", and "Perfect"). Corgan, who was frequently heavily involved in the conception of the videos, said of Dayton and Faris, "I know my [initial] versions are always darker, and they're always talking me into something a little kinder and gentler." Videos like "Today", "Rocket", and "1979" dealt with images taken from middle American culture, albeit exaggerated. The group's videos so often avoid the literal interpretation of the song lyrics that the video for "Thirty-Three", with images closely related to the words of the song, was created as an intentional stylistic departure.
The band was nominated for several MTV Video Music Awards during the 1990s. In 1996, the group won eight VMAs total for the "1979" and "Tonight, Tonight" videos, including the top award, Video of the Year, for "Tonight, Tonight". The video was also nominated for a Grammy at the 1997 ceremony. Of the "Tonight, Tonight" video, Corgan remarked, "I don't think we've ever had people react [like this]... it just seemed to touch a nerve."
Shortly after the band's 2000 breakup, the Greatest Hits Video Collection was released, collecting the band's music videos from 1991 to 2000 and including commentary from Corgan, Iha, Chamberlin, Wretzky, and various music video directors with outtakes, live performances, and the extended "Try, Try, Try" short film.
Band members
Current members
Billy Corgan – lead vocals, guitars, keyboards, bass guitar (1988–2000, 2006–present)
James Iha – guitars, bass guitar, vocals (1988–2000, 2018–present)
Jimmy Chamberlin – drums (1988–1996, 1998–2000, 2006–2009, 2015–present)
Jeff Schroeder – guitars, keyboards (2007–present)
Live members
Jack Bates – bass guitar (2015–present)
Katie Cole – keyboards, backing vocals (2015–present)
Former members
D'arcy Wretzky – bass guitar, backing vocals (1988–1999)
Melissa Auf der Maur – bass guitar (1999–2000)
Mike Byrne – drums, backing vocals, keyboards (2009–2014)
Nicole Fiorentino – bass guitar, backing vocals, keyboards (2010–2014)
Awards
American Music Awards
1997 – Best Alternative Artist
Grammy Awards
1997 – "Bullet with Butterfly Wings" – Best Hard Rock Performance
1998 – "The End Is the Beginning Is the End" – Best Hard Rock Performance
MTV Europe Music Awards
1996 – Best Rock
MTV Video Music Awards
1996 – "Tonight, Tonight" – Video of the Year, Breakthrough Video, Best Direction, Best Visual Effects, Best Art Direction, Best Cinematography
1996 – "1979" – Best Alternative Video
Discography
Studio albums
Gish (1991)
Siamese Dream (1993)
Mellon Collie and the Infinite Sadness (1995)
Adore (1998)
Machina/The Machines of God (2000)
Machina II/The Friends & Enemies of Modern Music (2000)
Zeitgeist (2007)
Oceania (2012)†
Monuments to an Elegy (2014)†
Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. (2018)
Cyr (2020)
Notes
† Part of Teargarden by Kaleidyscope (2009–2014), an overarching project abandoned before completion.
See also
List of artists who reached number one on the U.S. alternative rock chart
Notes
References
Bibliography
Further reading
External links
1988 establishments in Illinois
Alternative rock groups from Chicago
Articles which contain graphical timelines
Caroline Records artists
Grammy Award winners
MTV Europe Music Award winners
Musical groups established in 1988
Musical groups disestablished in 2000
Musical groups reestablished in 2006
Musical quartets
American musical trios
Reprise Records artists
Sumerian Records artists
Virgin Records artists
Musical groups from Chicago
| false |
[
"VHS-C is the compact VHS videocassette format, introduced by Victor Company of Japan (JVC) in 1982, and used primarily for consumer-grade compact analog recording camcorders. The format is based on the same video tape as is used in VHS, and can be played back in a standard VHS VCR with an adapter. Though quite inexpensive, the format is largely obsolete even as a consumer standard and has been replaced in the marketplace by digital video formats, which have smaller form factors.\n\nThe magnetic tape on VHS-C cassettes is wound on one main spool and used a gear wheel which moves the tape forward. It can also be moved by hand. This development hampered the sales of the Betamax system somewhat, because the Betamax cassette geometry prevented a similar development.\n\nVHS-C cassette was larger than Video8 cassette, but was compatible with VHS tape recorders, using a special adapter cassette. The adapter contains a standard full-size engagement hub for the VCR's takeup sprocket, which connected to a gear train to drive the VHS-C cassette takeup gear.\n\nVHS end of tape is normally detected by a light in the VCR that inserts into the full-size cassette body, and detected by sensors in the VCR located at the far outer corners of the front of the cassette. Because the width of VHS-C is narrower than a full-size VHS cassette and does not align with the full-size end of tape sensors, the adapter has a guide roller swing arm to pull tape out of the VHS-C cartridge out to the far right edge where it would normally be located in a full-size cassette. When the VHS-C cartridge is to be removed from the adapter, a geared retraction system pulls in the excess loose tape when the swing arm retracts.\n\nA higher quality version of VHS-C was released, based on S-VHS, known as S-VHS-C, that competed against Hi8, the higher quality version of Video8. The arrival on the market of inexpensive S-VHS-C camcorders led to the inclusion on many modern VCRs of a feature known as SQPB, or SuperVHS Quasi-PlayBack, but did not make a significant impact on the market as the arrival of MiniDV as a consumer standard made low-cost, digital, near-broadcast quality video widely available to consumers, and rendered analog camcorders largely obsolete.\n\nCompared with Video8, VHS-C had similar video quality but a shorter run time, 90 versus 30 minutes at SP speed (for standard cassettes), 180 versus 60 for longer-running modes. JVC did market 45-minute and 60-minute SP Mode tapes with the Extra High Grade formulation (135 minutes and 180 minutes in EP/SLP Mode) for a time. Similarly, Video8 spawned a 120-minute version of the cassette (240 minutes in long play).\n\nThe later Hi8 and S-VHS-C systems both have a quality similar to the LaserDisc system.\n\nAlthough Video8 acquired a digital variant in 1999, Digital8, D-VHS was never adapted to a compact format, as the consumer camcorder industry moved on to small-format MiniDV tapes, then hard-drive- and DVD-based machines, and then solid-state storage.\n\nSlackening Problem\nEarly VHS-C cassettes did not have a mechanism to ratchet or lock the supply reel when not in use, making them susceptible to spilling tape inside the shell. Consequently, manufacturers placed a label on their camcorders and adapters to warn the user to check that the tape is not slackened before inserting a cassette. The user could dissipate the slack by manually turning the take-up gear. Later cassettes corrected this problem by adding teeth to the supply reel to lock it in place when no upward pressure is applied. The spindle of the camcorder or VCR supplies pressure to float the reel's turntable and teeth above the shell, allowing it to rotate freely when in use.\n\nIf a tape with slack was loaded into a VHS-C adapter, the tape could sit on the wrong side of a tape guide when the adapter loaded. The result would be a tape and cassette combination that would not play in a video deck, and would damage the tape to some extent when being unloaded.\n\nWrite Protect Imperfection\nVHS-C cassettes have a switch to inhibit recording of a cassette. Not all adapters propagate the state of this switch to the VCR itself, so accidental erasure of a write-protected cassette is possible if the adapter's write protect lug or switch allows it.\n\nVHS-C head drum\nTo reduce the size of cameras, the VHS-C mechanism uses a two-thirds size head drum (41.3 mm diameter instead of the original VHS drum size of 62 mm). The wrap angle is 270 degrees instead of VHS's 180 degrees. The drum rotates at a proportionately higher speed, and four rotary video heads are used to trace out exactly the same helical recording path as a standard sized VHS drum.\nBy adding more heads, the same small VHS-C drum can record and playback FM Hi-Fi audio that is also fully compatible with a standard sized Hi-Fi video drum.\n\nReferences\n\nExternal links\nyoutube.com How to put VHS-C videos into Computer - Easy!\nyoutube.com V2 Tech Video View - Dynex VHS-C -to- VHS Cassette Adapter\nMediaCollege.com The VHS-C Format\npanasonic.com VHS-C FAQ\n\nVideotape\nC\nAudiovisual introductions in 1982\nJapanese inventions",
"The JVC HR-3300 VIDSTAR is the world's first VHS-based VCR to be released to the market, introduced by the president of JVC at the Okura Hotel on September 9, 1976. Sales started in Japan under the name Victor HR-3300 on 31 October 1976. Foreign sales followed in 1977 with the HR-3300U in the United States, and HR-3300EK in the United Kingdom.\n\nIn 2008, the HR-3300 became the first VCR to be registered with the National Museum of Nature and Science, based in Tokyo, Japan. It was noted as one of the 85 most disruptive ideas by Business Week in 2014.\n\nHistory\n\nPrior efforts\nThe first video recording system sold directly to home users was the 1963 -inch open reel Telcan from the UK, but this was not a commercial success. Sony's CV-2000 was a complete system based on commercial -inch tape on open reels, requiring the user to thread the tape around the helical scan heads. In order to conserve tape, the system recorded every other field of the television signal, producing half-resolution output. Similar models from Ampex and RCA followed that year. The number of video tape recorders continued to increase during the late 1960s, leading to the EIAJ-1 standard for -inch tape on a 7 inch reel. The follow-up EIAJ-2 built the take-up reel into the recorder body.\n\nIn September 1971, Sony introduced the U-matic format, aimed at professional users, which replaced the open reels with a cassette. The next year Philips introduced the Video Cassette Recording format specifically for home users. Over the next five years, a number of companies introduced similar cassette-based home formats, all of which were incompatible. Among the better known examples are Sanyo's V-Cord from 1974, Sony's Betamax from 1975, and Panasonic's VX from 1975.\n\nVHS\n\nJVC engineers Yuma Shiraishi and Shizuo Takano led the effort in developing the VHS tape format starting in 1971. The project started off by designing guidelines for VHS, creating a matrix on a blackboard called the VHS Development Matrix. Included in the matrix was a list of objectives in building a home video recording unit. The HR-3300 is a result of these objectives.\n\nSoon after the matrix was produced, the commercial video recording industry in Japan took a financial hit. As a result, JVC cut its budgets and restructured its video division - even going as far as shelving the VHS project. However, despite the lack of funding for the VHS project, Takano and Shiraishi continued to work on the project in secrecy within the video division. By 1973, the two engineers successfully produced a functional prototype of the HR-3300.\n\nRelease\nThe first HR-3300 was released in 1976. These early units used two large rotary knobs for tuning television signals for recording, one for VHF and another for UHF. Separate antenna inputs and pass-throughs were provided for both frequencies, as well composite video in and out via RCA jacks. An electronic timer with four seven-segment displays was located in the lower left of the front panel allowed the user to automatically record programs, one event up to 24 hours in the future. It also included a mechanical three-digit counter, similar to those on audio cassette recorders.\n\nFor the US and UK release the next year, the system was updated by replacing the mechanical tuning dials with a push-button system with eight pre-selected channels. A panel in the top flipped up to access small mechanical tuning dials for each of the eight channels. Push-button tuning was relatively rare at this time. The UK model was also released under the Ferguson brand name.\n\nFormat war\nIn December 1974, Sony attempted to standardize their Betamax format by inviting Matsushita (Panasonic) and JVC to license the system. Apparently to their surprise, both companies refused. At the time, Matsushita not only sold through its own Panasonic brand, but was the majority shareholder in JVC as well. Through 1976 Sony was unrivalled in the VCR market, selling 30,000 units in the US alone.\n\nThe HR-3300 was introduced late in 1976 with one crucial feature, the ability to hold two hours of video on a single cassette. This made the format able to record an entire movie. JVC licensed the VHS format as an open standard, and in January 1977 there were VHS products from four other Japanese companies on the market.\n\nIn February Sony once again started to look for licensors for the Betamax format, and joined forces with US-based Zenith Electronics. Matsushita then started looking for US partners as well, and formed an alliance with RCA. RCA was interested, but stated that the format should be extended to allow recordings of five to six hours. JVC refused to compromise on picture quality by slowing down the tape speed, but Matsushita produced a prototype of such a system, and RCA announced they were going with VHS in March 1977. Simply re-badging units made by Matsushita in Japan, by 1978, RCA held 36% of the VCR market, and VHS was on its way to becoming a de facto standard.\n\nSpecifications \n\nBeing the very first VHS-based VCR, the HR-3300 is the result of the VHS Development Matrix in terms of ease of servicing. Almost every component of this VCR can be purchased at any electronic surplus store.\n\nReferences \n\nRecording devices\nHR-3300"
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what did bernard have to do with research?
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what did bernard Lewis have to do with research?
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Bernard Lewis
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Lewis' influence extends beyond academia to the general public. He is a pioneer of the social and economic history of the Middle East and is famous for his extensive research of the Ottoman archives. He began his research career with the study of medieval Arab, especially Syrian, history. His first article, dedicated to professional guilds of medieval Islam, had been widely regarded as the most authoritative work on the subject for about thirty years. However, after the establishment of the state of Israel in 1948, scholars of Jewish origin found it more and more difficult to conduct archival and field research in the Arab countries, where they were suspected of espionage. Therefore, Lewis switched to the study of the Ottoman Empire, while continuing to research Arab history through the Ottoman archives which had only recently been opened to Western researchers. A series of articles that Lewis published over the next several years revolutionized the history of the Middle East by giving a broad picture of Islamic society, including its government, economy, and demographics. Lewis argues that the Middle East is currently backward and its decline was a largely self-inflicted condition resulting from both culture and religion, as opposed to the post-colonialist view which posits the problems of the region as economic and political maldevelopment mainly due to the 19th-century European colonization. In his 1982 work Muslim Discovery of Europe, Lewis argues that Muslim societies could not keep pace with the West and that "Crusader successes were due in no small part to Muslim weakness." Further, he suggested that as early as the 11th century Islamic societies were decaying, primarily the byproduct of internal problems like "cultural arrogance," which was a barrier to creative borrowing, rather than external pressures like the Crusades. In the wake of Soviet and Arab attempts to delegitimize Israel as a racist country, Lewis wrote a study of anti-Semitism, Semites and Anti-Semites (1986). In other works he argued Arab rage against Israel was disproportionate to other tragedies or injustices in the Muslim world, such as the Soviet invasion of Afghanistan and control of Muslim-majority land in Central Asia, the bloody and destructive fighting during the Hama uprising in Syria (1982), the Algerian civil war (1992-98), and the Iran-Iraq War (1980-88). In addition to his scholarly works, Lewis wrote several influential books accessible to the general public: The Arabs in History (1950), The Middle East and the West (1964), and The Middle East (1995). In the wake of the September 11, 2001 attacks, the interest in Lewis's work surged, especially his 1990 essay The Roots of Muslim Rage. Three of his books were published after 9/11: What Went Wrong? (written before the attacks), which explored the reasons of the Muslim world's apprehension of (and sometimes outright hostility to) modernization; The Crisis of Islam; and Islam: The Religion and the People. CANNOTANSWER
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He began his research career with the study of medieval Arab, especially Syrian, history.
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Bernard Lewis, (31 May 1916 – 19 May 2018) was a British American historian specialized in Oriental studies. He was also known as a public intellectual and political commentator. Lewis was the Cleveland E. Dodge Professor Emeritus of Near Eastern Studies at Princeton University. Lewis's expertise was in the history of Islam and the interaction between Islam and the West.
Lewis served as a soldier in the British Army in the Royal Armoured Corps and Intelligence Corps during the Second World War before being seconded to the Foreign Office. After the war, he returned to the School of Oriental and African Studies at the University of London and was appointed to the new chair in Near and Middle Eastern history.
In 2007 Lewis was called "the West's leading interpreter of the Middle East". Others have argued Lewis's approach is essentialist and generalizing to the Muslim world, as well as his tendency to restate hypotheses that were challenged by more recent research. On a political level, Lewis is accused by his detractors with having revived the image of the cultural inferiority of Islam and of emphasizing the dangers of jihad. His advice was frequently sought by neoconservative policymakers, including the Bush administration. However, his active support of the Iraq War and neoconservative ideals have since come under scrutiny.
Lewis was also notable for his public debates with Edward Said, who accused Lewis and other orientalists of misrepresenting Islam and serving the purposes of Western imperialist domination, to which Lewis responded by defending Orientalism as a facet of humanism and accusing Said of politicizing the subject. Furthermore, Lewis notoriously denied the Armenian genocide. He argued that the deaths of the mass killings resulted from a struggle between two nationalistic movements, claiming that there is no proof of intent by the Ottoman government to exterminate the Armenian nation.
Family and personal life
Bernard Lewis was born on 31 May 1916 to middle-class British Jewish parents, Harry Lewis and the former Jane Levy, in Stoke Newington, London. He became interested in languages and history while preparing for his bar mitzvah. In 1947 he married Ruth Hélène Oppenhejm, with whom he had a daughter and a son. Their marriage was dissolved in 1974. Lewis became a naturalized citizen of the United States in 1982.
Academic career
In 1936, Lewis graduated from the School of Oriental Studies (now School of Oriental and African Studies, SOAS) at the University of London with a BA in history with special reference to the Near and Middle East. He earned his PhD three years later, also from SOAS, specializing in the history of Islam. Lewis also studied law, going part of the way toward becoming a solicitor, but returned to study Middle Eastern history. He undertook post-graduate studies at the University of Paris, where he studied with the orientalist Louis Massignon and earned the "Diplôme des Études Sémitiques" in 1937. He returned to SOAS in 1938 as an assistant lecturer in Islamic History.
During the Second World War, Lewis served in the British Army in the Royal Armoured Corps and as a Corporal in the Intelligence Corps in 1940–41 before being seconded to the Foreign Office. After the war, he returned to SOAS, where he would remain for the next 25 years. In 1949, at the age of 33, he was appointed to the new chair in Near and Middle Eastern History. In 1963, Lewis was granted fellowship of the British Academy.
In 1974, aged 57, Lewis accepted a joint position at Princeton University and the Institute for Advanced Study, also located in Princeton, New Jersey. The terms of his appointment were such that Lewis taught only one semester per year, and being free from administrative responsibilities, he could devote more time to research than previously. Consequently, Lewis's arrival at Princeton marked the beginning of the most prolific period in his research career during which he published numerous books and articles based on previously accumulated materials. After retiring from Princeton in 1986, Lewis served at Cornell University until 1990.
In 1966, Lewis was a founding member of the learned society, Middle East Studies Association of North America (MESA), but in 2007 he broke away and founded Association for the Study of the Middle East and Africa (ASMEA) to challenge MESA, which the New York Sun noted as "dominated by academics who have been critical of Israel and of America's role in the Middle East". The organization was formed as an academic society dedicated to promoting high standards of research and teaching in Middle Eastern and African studies and other related fields, with Lewis as Chairman of its academic council.
In 1990, the National Endowment for the Humanities selected Lewis for the Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities. His lecture, entitled "Western Civilization: A View from the East", was revised and reprinted in The Atlantic Monthly under the title "The Roots of Muslim Rage." His 2007 Irving Kristol Lecture, given to the American Enterprise Institute, was published as Europe and Islam.
Research
Lewis's influence extends beyond academia to the general public. He began his research career with the study of medieval Arab, especially Syrian, history. His first article, dedicated to professional guilds of medieval Islam, had been widely regarded as the most authoritative work on the subject for about thirty years. However, after the establishment of the state of Israel in 1948, scholars of Jewish origin found it more and more difficult to conduct archival and field research in Arab countries, where they were suspected of espionage. Therefore, Lewis switched to the study of the Ottoman Empire, while continuing to research Arab history through the Ottoman archives which had only recently been opened to Western researchers. A series of articles that Lewis published over the next several years revolutionized the history of the Middle East by giving a broad picture of Islamic society, including its government, economy, and demographics.
Lewis argued that the Middle East is currently backward and its decline was a largely self-inflicted condition resulting from both culture and religion, as opposed to the post-colonialist view which posits the problems of the region as economic and political maldevelopment mainly due to the 19th-century European colonization. In his 1982 work Muslim Discovery of Europe, Lewis argues that Muslim societies could not keep pace with the West and that "Crusader successes were due in no small part to Muslim weakness." Further, he suggested that as early as the 11th century Islamic societies were decaying, primarily the byproduct of internal problems like "cultural arrogance," which was a barrier to creative borrowing, rather than external pressures like the Crusades.
In the wake of Soviet and Arab attempts to delegitimize Israel as a racist country, Lewis wrote a study of anti-Semitism, Semites and Anti-Semites (1986). In other works he argued Arab rage against Israel was disproportionate to other tragedies or injustices in the Muslim world, such as the Soviet invasion of Afghanistan and control of Muslim-majority land in Central Asia, the bloody and destructive fighting during the Hama uprising in Syria (1982), the Algerian Civil War (1992–1998), and the Iran–Iraq War (1980–1988).
In addition to his scholarly works, Lewis wrote several influential books accessible to the general public: The Arabs in History (1950), The Middle East and the West (1964), and The Middle East (1995). In the wake of the 11 September 2001 attacks, the interest in Lewis's work surged, especially his 1990 essay The Roots of Muslim Rage. Three of his books were published after 9/11: What Went Wrong? (written before the attacks), which explored the reasons of the Muslim world's apprehension of (and sometimes outright hostility to) modernization; The Crisis of Islam; and Islam: The Religion and the People.
Abraham Udovitch described him as "certainly the most eminent and respected historian of the Arab world, of the Islamic world, of the Middle East and beyond".
Armenian genocide
The first two editions of Lewis's The Emergence of Modern Turkey (1961 and 1968) describe the Armenian genocide as "the terrible holocaust of 1915, when a million and a half Armenians perished". In later editions, this text is altered to "the terrible slaughter of 1915, when, according to estimates, more than a million Armenians perished, as well as an unknown number of Turks". In this passage, Lewis argues that the deaths were the result of a struggle for the same land between two competing nationalist movements.
The change in Lewis's textual description of the Armenian genocide and his signing of the petition against the Congressional resolution was controversial among some Armenian historians as well as journalists, who suggested that Lewis was engaging in historical revisionism to serve his own political and personal interests.
Lewis called the label "genocide" the "Armenian version of this history" in a November 1993 interview with Le Monde, for which he faced a civil proceeding in a French court. In a subsequent exchange on the pages of Le Monde, Lewis wrote that while "terrible atrocities" did occur, "there exists no serious proof of a decision and of a plan of the Ottoman government aiming to exterminate the Armenian nation". He was ordered to pay one franc as damages for his statements on the Armenian genocide in Ottoman Turkey. Three other court cases against Bernard Lewis failed in the Paris tribunal, including one filed by the Armenian National Committee of France and two filed by Jacques Trémollet de Villers.
Lewis's views on the Armenian genocide were criticized by a number of historians and sociologists, among them Alain Finkielkraut, Yves Ternon, Richard G. Hovannisian, Robert Melson, and Pierre Vidal-Naquet.<ref>{{cite book|last1=Finkelstein|first1=Norman G.|title=The Holocaust Industry: Reflections on the Exploitation of Jewish Suffering|date=2003|publisher=Verso|location=London|isbn=978-1859844885|page=69}}</ref>
Lewis has argued for his denial stance that:
Lewis has been labelled a "genocide denier" by Stephen Zunes, Israel Charny, David B. MacDonald and the Armenian National Committee of America. Israeli historian Yair Auron suggested that "Lewis' stature provided a lofty cover for the Turkish national agenda of obfuscating academic research on the Armenian Genocide". Israel Charny wrote that Lewis's "seemingly scholarly concern ... of Armenians constituting a threat to the Turks as a rebellious force who together with the Russians threatened the Ottoman Empire, and the insistence that only a policy of deportations was executed, barely conceal the fact that the organized deportations constituted systematic mass murder". Charny compares the "logical structures" employed by Lewis in his denial of the genocide to those employed by Ernst Nolte in his Holocaust negationism.
Views and influence on contemporary politics
In the mid-1960s, Lewis emerged as a commentator on the issues of the modern Middle East and his analysis of the Israeli–Palestinian conflict and the rise of militant Islam brought him publicity and aroused significant controversy. American historian Joel Beinin has called him "perhaps the most articulate and learned Zionist advocate in the North American Middle East academic community". Lewis's policy advice has particular weight thanks to this scholarly authority. U.S. Vice President Dick Cheney remarked "in this new century, his wisdom is sought daily by policymakers, diplomats, fellow academics, and the news media".
A harsh critic of the Soviet Union, Lewis continued the liberal tradition in Islamic historical studies. Although his early Marxist views had a bearing on his first book The Origins of Ismailism, Lewis subsequently discarded Marxism. His later works are a reaction against the left-wing current of Third-worldism which came to be a significant current in Middle Eastern studies.
During his career Lewis developed ties with governments around the world: during her time as Prime Minister of Israel, Golda Meir assigned Lewis's articles as reading to her cabinet members, and during the Presidency of George W. Bush, he advised administration members including Cheney, Donald Rumsfeld and Bush himself. He was also close to King Hussein of Jordan and his brother, Prince Hassan bin Talal. He also had ties to the regime of Mohammad Reza Pahlavi, the last Shah of Iran, the Turkish military dictatorship led by Kenan Evren, and the Egyptian government of Anwar Sadat: he acted as a go-between between the Sadat administration and Israel in 1971 when he relayed a message to the Israeli government regarding the possibility of a peace agreement at the request of Sadat's spokesman Tahasin Bashir.
Lewis advocated closer Western ties with Israel and Turkey, which he saw as especially important in light of the extension of the Soviet influence in the Middle East. Modern Turkey holds a special place in Lewis's view of the region due to the country's efforts to become a part of the West. He was an Honorary Fellow of the Institute of Turkish Studies, an honor which is given "on the basis of generally recognized scholarly distinction and ... long and devoted service to the field of Turkish Studies."
Lewis views Christendom and Islam as civilizations that have been in perpetual collision since the advent of Islam in the 7th century. In his essay The Roots of Muslim Rage (1990), he argued that the struggle between the West and Islam was gathering strength. According to one source, this essay (and Lewis's 1990 Jefferson Lecture on which the article was based) first introduced the term "Islamic fundamentalism" to North America. This essay has been credited with coining the phrase "clash of civilizations", which received prominence in the eponymous book by Samuel Huntington. However, another source indicates that Lewis first used the phrase "clash of civilizations" at a 1957 meeting in Washington where it was recorded in the transcript.
In 1998, Lewis read in a London-based newspaper Al-Quds Al-Arabi a declaration of war on the United States by Osama bin Laden. In his essay "A License to Kill", Lewis indicated he considered bin Laden's language as the "ideology of jihad" and warned that bin Laden would be a danger to the West. The essay was published after the Clinton administration and the US intelligence community had begun its hunt for bin Laden in Sudan and then in Afghanistan.
Jihad
Lewis writes of jihad as a distinct religious obligation, but suggests that it is a pity that people engaging in terrorist activities are not more aware of their own religion:The fanatical warrior offering his victims the choice of the Koran or the sword is not only untrue, it is impossible. The alleged choice - conversion or death - is also, with rare and atypical exceptions, untrue. Muslim tolerance of unbelievers and misbelievers was far better than anything available in Christendom until the rise of secularism in the 17th century.
Muslim fighters are commanded not to kill women, children, or the aged unless they attack first; not to torture or otherwise ill-treat prisoners; to give fair warnings of the opening of hostilities or their resumption after a truce; and to honor agreements. At no time did the classical jurists offer any approval or legitimacy to what we nowdays call terrorism. Nor indeed is there any evidence of the use of terrorism as it is practiced nowadays.
The emergence of the by now widespread terrorism practice of suicide bombing is a development of the 20th century. It has no antecedents in Islamic history, and no justification in the terms of Islamic theology, law, or tradition.As'ad AbuKhalil, has criticized this view and stated: "Methodologically, [Lewis] insists that terrorism by individual Muslims should be considered Islamic terrorism, while terrorism by individual Jews or Christians is never considered Jewish or Christian terrorism."
He also criticised Lewis's understanding of Osama bin Laden, seeing Lewis's interpretation of bin Laden "as some kind of influential Muslim theologian" along the lines of classical theologians like Al-Ghazali, rather than "the terrorist fanatic that he is". AbuKhalil has also criticized the place of Islam in Lewis's worldview more generally, arguing that the most prominent feature of his work was its "theologocentrism" (borrowing a term from Maxime Rodinson) - that Lewis interprets all aspects of behavior among Muslims solely through the lens of Islamic theology, subsuming the study of Muslim peoples, their languages, the geographical areas where Muslims predominate, Islamic governments, the governments of Arab countries and Sharia under the label of "Islam".
Debates with Edward Said
Lewis was known for his literary debates with Edward Said, the Palestinian American literary theorist whose aim was to deconstruct what he called Orientalist scholarship. Said, who was a professor at Columbia University, characterized Lewis's work as a prime example of Orientalism in his 1978 book Orientalism and in his later book Covering Islam: How the Media and the Experts Determine How We See the Rest of the World (1981). Said asserted that the field of Orientalism was political intellectualism bent on self-affirmation rather than objective study, a form of racism, and a tool of imperialist domination. He further questioned the scientific neutrality of some leading Middle East scholars, including Lewis, on the Arab World. In an interview with Al-Ahram weekly, Said suggested that Lewis's knowledge of the Middle East was so biased that it could not be taken seriously and claimed "Bernard Lewis hasn't set foot in the Middle East, in the Arab world, for at least 40 years. He knows something about Turkey, I'm told, but he knows nothing about the Arab world." Said considered that Lewis treats Islam as a monolithic entity without the nuance of its plurality, internal dynamics, and historical complexities, and accused him of "demagogy and downright ignorance". In Covering Islam, Said argued that "Lewis simply cannot deal with the diversity of Muslim, much less human life, because it is closed to him as something foreign, radically different, and other," and he criticised Lewis's "inability to grant that the Islamic peoples are entitled to their own cultural, political, and historical practices, free from Lewis's calculated attempt to show that because they are not Western... they can't be good."
Rejecting the view that Western scholarship was biased against the Middle East, Lewis responded that Orientalism developed as a facet of European humanism, independently of the past European imperial expansion. He noted the French and English pursued the study of Islam in the 16th and 17th centuries, yet not in an organized way, but long before they had any control or hope of control in the Middle East; and that much of Orientalist study did nothing to advance the cause of imperialism. In his 1993 book Islam and the West, Lewis wrote "What imperial purpose was served by deciphering the ancient Egyptian language, for example, and then restoring to the Egyptians knowledge of and pride in their forgotten, ancient past?"
Furthermore, Lewis accused Said of politicizing the scientific study of the Middle East (and Arabic studies in particular); neglecting to critique the scholarly findings of the Orientalists; and giving "free rein" to his biases.
Stance on the Iraq War
In 2002, Lewis wrote an article for The Wall Street Journal regarding the buildup to the Iraq War entitled "Time for Toppling", where he stated his opinion that "a regime change may well be dangerous, but sometimes the dangers of inaction are greater than those of action". In 2007, Jacob Weisberg described Lewis as "perhaps the most significant intellectual influence behind the invasion of Iraq". Michael Hirsh attributed to Lewis the view that regime change in Iraq would provide a jolt that would "modernize the Middle East" and suggested that Lewis's allegedly 'orientalist' theories about "what went wrong" in the Middle East, and other writings, formed the intellectual basis of the push towards war in Iraq. Hirsch reported that Lewis had told him in an interview that he viewed the 11 September attacks as "the opening salvo of the final battle" between Western and Islamic civilisations: Lewis believed that a forceful response was necessary. In the run up to the Iraq War, he met with Vice President Dick Cheney several times: Hirsch quoted an unnamed official who was present at a number of these meetings, who summarised Lewis's view of Iraq as "Get on with it. Don't dither". Brent Scowcroft quoted Lewis as stating that he believed "that one of the things you’ve got to do to Arabs is hit them between the eyes with a big stick. They respect power". As'ad AbuKhalil has claimed that Lewis assured Cheney that American troops would be welcomed by Iraqis and Arabs, relying on the opinion of his colleague Fouad Ajami. Hirsch also drew parallels between the Bush administration's plans for post-invasion Iraq and Lewis's views, in particular his admiration for Mustafa Kemal Atatürk's secularist and Westernising reforms in the new Republic of Turkey which emerged from the collapse of the Ottoman Empire.
Writing in 2008, Lewis did not advocate imposing freedom and democracy on Islamic nations. "There are things you can't impose. Freedom, for example. Or democracy. Democracy is a very strong medicine which has to be administered to the patient in small, gradually increasing doses. Otherwise, you risk killing the patient. In the main, the Muslims have to do it themselves."
Ian Buruma, writing for The New Yorker in an article subtitled "The two Minds of Bernard Lewis", finds Lewis's stance on the war difficult to reconcile with Lewis's past statements cautioning democracy enforcement in the world at large. Buruma ultimately rejects suggestions by his peers that Lewis promotes war with Iraq to safeguard Israel, but instead concludes "perhaps he loves it [the Arab world] too much":
Hamid Dabashi, writing on 28 May 2018, in an article subtitled "On Bernard Lewis and 'his extraordinary capacity for getting everything wrong'", asked: "Just imagine: What sort of a person would spend a lifetime studying people he loathes? It is quite a bizarre proposition. But there you have it: the late Bernard Lewis did precisely that." Similarly, Richard Bulliet described Lewis as "...a person who does not like the people he is purporting to have expertise about...he doesn’t respect them, he considers them to be good and worthy only to the degree they follow a Western path". According to As'ad AbuKhalil, "Lewis has poisoned the Middle East academic field more than any other Orientalist and his influence has been both academic and political. But there is a new generation of Middle East experts in the West who now see clearly the political agenda of Bernard Lewis. It was fully exposed in the Bush years."
Alleged nuclear threat from Iran
In 2006, Lewis wrote that Iran had been working on a nuclear weapon for fifteen years. In August 2006, in an article about whether the world can rely on the concept of mutual assured destruction as a deterrent in its dealings with Iran, Lewis wrote in The Wall Street Journal about the significance of 22 August 2006 in the Islamic calendar. The Iranian president had indicated he would respond by that date to U.S. demands regarding Iran's development of nuclear power. Lewis wrote that the date corresponded to the 27th day of the month of Rajab of the year 1427, the day Muslims commemorate the night flight of Muhammad from Jerusalem to heaven and back. Lewis wrote that it would be "an appropriate date for the apocalyptic ending of Israel and, if necessary, of the world". According to Lewis, mutual assured destruction is not an effective deterrent in the case of Iran, because of what Lewis describes as the Iranian leadership's "apocalyptic worldview" and the "suicide or martyrdom complex that plagues parts of the Islamic world today". Lewis's article received significant press coverage. However, the day passed without any incident.
Death
Bernard Lewis died on 19 May 2018 at the age of 101, at an assisted-living care facility in Voorhees Township, New Jersey, twelve days before his 102nd birthday.
He is buried in Trumpeldor Cemetery in Tel Aviv.
Bibliography
Awards and honors
1963: Elected as a Fellow of the British Academy
1978: The Harvey Prize, from the Technion – Israel Institute of Technology, for "his profound insight into the life and mores of the peoples of the Middle East through his writings"
1983: Elected to the American Academy of Arts and Sciences
1990: Selected for the Jefferson Lecture by the National Endowment for the Humanities
1996: Finalist for the National Book Critics Circle Award in General Nonfiction, for The Middle East (Scribner)
1999: National Jewish Book Award in the Israel category for The Multiple Identities of the Middle East 2002: The Thomas Jefferson Medal, awarded by the American Philosophical Society
2002: Atatürk International Peace Prize on grounds that he contributed extensively to history scholarship with his accurate analysis of Turkey’s and in particular of Atatürk’s positive impact on Middle Eastern history.
2004: Golden Plate Award from the American Academy of Achievement
2006: National Humanities Medal, from the National Endowment for the Humanities
2007: Irving Kristol Award, from the American Enterprise Institute for Public Policy Research
2007: The Scholar-Statesman Award from The Washington Institute for Near East Policy
See also
Bernard Lewis bibliography
List of Princeton University people
References
External links
Lewis's page at Princeton University
Revered and Reviled – Lewis's profile on Moment Magazine''
The Legacy and Fallacies of Bernard Lewis by As`ad AbuKhalil
1916 births
2018 deaths
20th-century American historians
20th-century British historians
20th-century British writers
21st-century American historians
21st-century American male writers
21st-century British historians
21st-century British writers
Academics of SOAS University of London
Alumni of SOAS University of London
American centenarians
American historians
American male non-fiction writers
American people of English-Jewish descent
Deniers of the Armenian genocide
British Army personnel of World War II
English centenarians
British emigrants to the United States
English historians
English Jews
Fellows of the British Academy
Historians of Islam
Historians of the Ottoman Empire
Honorary members of the Turkish Academy of Sciences
Institute for Advanced Study visiting scholars
Intelligence Corps soldiers
Islam and antisemitism
Islam and politics
Jewish American historians
Jewish scholars
Jewish scholars of Islam
Men centenarians
Middle Eastern studies in the United States
National Humanities Medal recipients
Neoconservatism
People from Stoke Newington
British political commentators
Princeton University faculty
Royal Armoured Corps soldiers
Scholars of antisemitism
University of Paris alumni
Cornell University faculty
Foreign Policy Research Institute
Historians of the Middle East
Carnegie Council for Ethics in International Affairs
Middle Eastern studies scholars
Burials at Trumpeldor Cemetery
21st-century American Jews
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"A community advisory board (often called a CAB) is a type of advisory board consisting of representatives of the general public who meet with representatives of an institution to relay information between the two groups. CABs are especially associated with clinical research, in which case they review the clinical research ethics associated with the human subject research which a medical research institution conducts. CABs are an aspect of community-based participatory research.\n\nPurpose\nCommunity advisory boards (CABs) benefit research institutions by providing advice about the efficacy of the informed consent process and the implementation of research protocols. The CAB composition is representative of the community participating in the research being reviewed.\n\nResearchers who consult with CABs get information which they would not otherwise get about the target community demographic which they are researching.\n\nEthics\nThe CAB is intended to be a way to respect the rights of research participants. Research in a community has the potential for group harm, which is distinct from the individual harm which can happen to individuals who participate. Because of the risk to communities, researchers have an obligation to community stakeholders to seek community feedback about the research.\n\nDuties of CABs\nCABs and researchers must continually decide which powers to invest in a CAB. Here are some common questions which must be decided:\n\nWhat interaction should CABs have with institutional review boards?\nWhat education and training should the research institution give to the CAB members to enable them to perform their duties?\nTo what extent should CABs participate in the development of informed consent processes?\nTo what extent should CABs participate in developing guidelines to determine whether research participants give sufficient consent?\nIn emergency situations, to what extent can CABs provide consultation on what response researchers should have to the emergency?\nWhen study participants have ethical problems with the research, to what extent should the CAB directly receive those participants' concerns?\nWhen CABs perceive the inevitable lapses in sufficient protection for research participants which occasionally and naturally occur in any study, what power should the CAB have to direct rectification of this lapse?\nTo what extent should CABs direct the empowerment of their communities to more fully and beneficially participate in research?\n\nGuidelines\nA community advisory board has whatever duties the members invest in it, but various organizations have suggested that they have certain responsibilities. Besides not knowing what CABs should do, it is difficult to determine what CABs should not do. Some of the perennial problems with CABs are determining the following: who in a community can serve on a CAB, the extent to which the CAB directs research, and the extent to which the community directs the execution of the research. Researchers find that research is more productive and ethical when researchers train, recruit, and integrate members from the population targeted by the research into the research team. In consulting with the community, researchers have to meet with individuals who represent a common culture, have a communication network with the community they represent, and have a system for voicing the community's priorities.\n\nOverseeing genetic research\nIn 2000 the National Institute of General Medical Sciences held a conference which defined some CAB duties. Those duties are as follows: \nDefine community in appropriate and meaningful ways.\nUnderstand the potential benefits and risks of research for communities and community members.\nObtain broad community input for all phases of research.\nRespect communities as full partners in research.\nResolve all issues pertaining to tissue samples.\nEstablish appropriate review mechanisms and procedures.\nFacilitate the return of benefits to communities.\nFoster education and training in community-based research.\nEnsure dissemination of accurate information to the media and the public.\nProvide sufficient funds for research and encourage community–researcher partnerships.\n\nChallenges in developing countries\nAs part of international development many research institutions medical research in developing countries. When this happens, they often opt to get advice from the local community through a CAB. The process of setting up CABs in developing countries has its own problems.\n\nReferences\n\nClinical research\nEthics organizations",
"Bernard–Soulier syndrome (BSS), is a rare autosomal recessive bleeding disorder that is caused by a deficiency of the glycoprotein Ib-IX-V complex (GPIb-IX-V), the receptor for von Willebrand factor. The incidence of BSS is estimated to be less than 1 case per million persons, based on cases reported from Europe, North America, and Japan. BSS is a giant platelet disorder, meaning that it is characterized by abnormally large platelets.\n\nSigns and symptoms\nBernard–Soulier syndrome often presents as a bleeding disorder with symptoms of:\n\nGenetics\nIn regards to mechanism, there are three genes: GP1BA, GP1BB and GP9 that are involved (due to mutations). These mutations do not allow the GPIb-IX-V complex to bind to the von Willebrand factor, which in turn is what would help platelets adhere to a site of injury which eventually helps stop bleeding.\n\nDiagnosis\n\nIn terms of diagnosis Bernard–Soulier syndrome is characterized by prolonged bleeding time, thrombocytopenia, increased megakaryocytes, and enlarged platelets, Bernard–Soulier syndrome is associated with quantitative or qualitative defects of the platelet glycoprotein complex GPIb/V/IX. The degree of thrombocytopenia may be estimated incorrectly, due to the possibility that when the platelet count is performed with automatic counters, giant platelets may reach the size of red blood cells. The large platelets and low platelet count in BSS are seemingly due to the absence of GPIbα and the filamin A binding site that links the GPIb-IX-V complex to the platelet membrane skeleton.\n\nDifferential diagnosis\nThe differential diagnosis for Bernard–Soulier syndrome includes both Glanzmann thrombasthenia and pediatric Von Willebrand disease. BSS platelets do not aggregate to ristocetin, and this defect is not corrected by the addition of normal plasma, distinguishing it from von Willebrand disease. Following is a table comparing its result with other platelet aggregation disorders:\n\nTreatment\n\nBleeding events can be controlled by platelet transfusion.\nMost heterozygotes, with few exceptions, do not have a bleeding diathesis. BSS presents as a bleeding disorder due to the inability of platelets to bind and aggregate at sites of vascular endothelial injury. In the event of an individual with mucosal bleeding tranexamic acid can be given.\n\nThe affected individual may need to avoid contact sports and medications such as aspirin, which can increase the possibility of bleeding. A potential complication is the possibility of the individual producing anti-platelet antibodies.\n\nPrevalence\nThe frequency of Bernard–Soulier syndrome is approximately 1 in 1,000,000 people. The syndrome, identified in the year 1948, is named after Dr. Jean Bernard and Dr. Jean Pierre Soulier.\n\nSee also\n\nReferences\n\nFurther reading\n\nExternal links \n\nCoagulopathies\nAutosomal recessive disorders\nSyndromes affecting blood\nRare syndromes"
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"Bernard Lewis",
"Research",
"what did bernard have to do with research?",
"He began his research career with the study of medieval Arab, especially Syrian, history."
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C_ec17aa9fcd4345f3848566410f6c0500_0
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what else did he research?
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what else did Bernard Lewis research besides medieval Arab?
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Bernard Lewis
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Lewis' influence extends beyond academia to the general public. He is a pioneer of the social and economic history of the Middle East and is famous for his extensive research of the Ottoman archives. He began his research career with the study of medieval Arab, especially Syrian, history. His first article, dedicated to professional guilds of medieval Islam, had been widely regarded as the most authoritative work on the subject for about thirty years. However, after the establishment of the state of Israel in 1948, scholars of Jewish origin found it more and more difficult to conduct archival and field research in the Arab countries, where they were suspected of espionage. Therefore, Lewis switched to the study of the Ottoman Empire, while continuing to research Arab history through the Ottoman archives which had only recently been opened to Western researchers. A series of articles that Lewis published over the next several years revolutionized the history of the Middle East by giving a broad picture of Islamic society, including its government, economy, and demographics. Lewis argues that the Middle East is currently backward and its decline was a largely self-inflicted condition resulting from both culture and religion, as opposed to the post-colonialist view which posits the problems of the region as economic and political maldevelopment mainly due to the 19th-century European colonization. In his 1982 work Muslim Discovery of Europe, Lewis argues that Muslim societies could not keep pace with the West and that "Crusader successes were due in no small part to Muslim weakness." Further, he suggested that as early as the 11th century Islamic societies were decaying, primarily the byproduct of internal problems like "cultural arrogance," which was a barrier to creative borrowing, rather than external pressures like the Crusades. In the wake of Soviet and Arab attempts to delegitimize Israel as a racist country, Lewis wrote a study of anti-Semitism, Semites and Anti-Semites (1986). In other works he argued Arab rage against Israel was disproportionate to other tragedies or injustices in the Muslim world, such as the Soviet invasion of Afghanistan and control of Muslim-majority land in Central Asia, the bloody and destructive fighting during the Hama uprising in Syria (1982), the Algerian civil war (1992-98), and the Iran-Iraq War (1980-88). In addition to his scholarly works, Lewis wrote several influential books accessible to the general public: The Arabs in History (1950), The Middle East and the West (1964), and The Middle East (1995). In the wake of the September 11, 2001 attacks, the interest in Lewis's work surged, especially his 1990 essay The Roots of Muslim Rage. Three of his books were published after 9/11: What Went Wrong? (written before the attacks), which explored the reasons of the Muslim world's apprehension of (and sometimes outright hostility to) modernization; The Crisis of Islam; and Islam: The Religion and the People. CANNOTANSWER
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Lewis switched to the study of the Ottoman Empire, while continuing to research Arab history through the Ottoman archives
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Bernard Lewis, (31 May 1916 – 19 May 2018) was a British American historian specialized in Oriental studies. He was also known as a public intellectual and political commentator. Lewis was the Cleveland E. Dodge Professor Emeritus of Near Eastern Studies at Princeton University. Lewis's expertise was in the history of Islam and the interaction between Islam and the West.
Lewis served as a soldier in the British Army in the Royal Armoured Corps and Intelligence Corps during the Second World War before being seconded to the Foreign Office. After the war, he returned to the School of Oriental and African Studies at the University of London and was appointed to the new chair in Near and Middle Eastern history.
In 2007 Lewis was called "the West's leading interpreter of the Middle East". Others have argued Lewis's approach is essentialist and generalizing to the Muslim world, as well as his tendency to restate hypotheses that were challenged by more recent research. On a political level, Lewis is accused by his detractors with having revived the image of the cultural inferiority of Islam and of emphasizing the dangers of jihad. His advice was frequently sought by neoconservative policymakers, including the Bush administration. However, his active support of the Iraq War and neoconservative ideals have since come under scrutiny.
Lewis was also notable for his public debates with Edward Said, who accused Lewis and other orientalists of misrepresenting Islam and serving the purposes of Western imperialist domination, to which Lewis responded by defending Orientalism as a facet of humanism and accusing Said of politicizing the subject. Furthermore, Lewis notoriously denied the Armenian genocide. He argued that the deaths of the mass killings resulted from a struggle between two nationalistic movements, claiming that there is no proof of intent by the Ottoman government to exterminate the Armenian nation.
Family and personal life
Bernard Lewis was born on 31 May 1916 to middle-class British Jewish parents, Harry Lewis and the former Jane Levy, in Stoke Newington, London. He became interested in languages and history while preparing for his bar mitzvah. In 1947 he married Ruth Hélène Oppenhejm, with whom he had a daughter and a son. Their marriage was dissolved in 1974. Lewis became a naturalized citizen of the United States in 1982.
Academic career
In 1936, Lewis graduated from the School of Oriental Studies (now School of Oriental and African Studies, SOAS) at the University of London with a BA in history with special reference to the Near and Middle East. He earned his PhD three years later, also from SOAS, specializing in the history of Islam. Lewis also studied law, going part of the way toward becoming a solicitor, but returned to study Middle Eastern history. He undertook post-graduate studies at the University of Paris, where he studied with the orientalist Louis Massignon and earned the "Diplôme des Études Sémitiques" in 1937. He returned to SOAS in 1938 as an assistant lecturer in Islamic History.
During the Second World War, Lewis served in the British Army in the Royal Armoured Corps and as a Corporal in the Intelligence Corps in 1940–41 before being seconded to the Foreign Office. After the war, he returned to SOAS, where he would remain for the next 25 years. In 1949, at the age of 33, he was appointed to the new chair in Near and Middle Eastern History. In 1963, Lewis was granted fellowship of the British Academy.
In 1974, aged 57, Lewis accepted a joint position at Princeton University and the Institute for Advanced Study, also located in Princeton, New Jersey. The terms of his appointment were such that Lewis taught only one semester per year, and being free from administrative responsibilities, he could devote more time to research than previously. Consequently, Lewis's arrival at Princeton marked the beginning of the most prolific period in his research career during which he published numerous books and articles based on previously accumulated materials. After retiring from Princeton in 1986, Lewis served at Cornell University until 1990.
In 1966, Lewis was a founding member of the learned society, Middle East Studies Association of North America (MESA), but in 2007 he broke away and founded Association for the Study of the Middle East and Africa (ASMEA) to challenge MESA, which the New York Sun noted as "dominated by academics who have been critical of Israel and of America's role in the Middle East". The organization was formed as an academic society dedicated to promoting high standards of research and teaching in Middle Eastern and African studies and other related fields, with Lewis as Chairman of its academic council.
In 1990, the National Endowment for the Humanities selected Lewis for the Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities. His lecture, entitled "Western Civilization: A View from the East", was revised and reprinted in The Atlantic Monthly under the title "The Roots of Muslim Rage." His 2007 Irving Kristol Lecture, given to the American Enterprise Institute, was published as Europe and Islam.
Research
Lewis's influence extends beyond academia to the general public. He began his research career with the study of medieval Arab, especially Syrian, history. His first article, dedicated to professional guilds of medieval Islam, had been widely regarded as the most authoritative work on the subject for about thirty years. However, after the establishment of the state of Israel in 1948, scholars of Jewish origin found it more and more difficult to conduct archival and field research in Arab countries, where they were suspected of espionage. Therefore, Lewis switched to the study of the Ottoman Empire, while continuing to research Arab history through the Ottoman archives which had only recently been opened to Western researchers. A series of articles that Lewis published over the next several years revolutionized the history of the Middle East by giving a broad picture of Islamic society, including its government, economy, and demographics.
Lewis argued that the Middle East is currently backward and its decline was a largely self-inflicted condition resulting from both culture and religion, as opposed to the post-colonialist view which posits the problems of the region as economic and political maldevelopment mainly due to the 19th-century European colonization. In his 1982 work Muslim Discovery of Europe, Lewis argues that Muslim societies could not keep pace with the West and that "Crusader successes were due in no small part to Muslim weakness." Further, he suggested that as early as the 11th century Islamic societies were decaying, primarily the byproduct of internal problems like "cultural arrogance," which was a barrier to creative borrowing, rather than external pressures like the Crusades.
In the wake of Soviet and Arab attempts to delegitimize Israel as a racist country, Lewis wrote a study of anti-Semitism, Semites and Anti-Semites (1986). In other works he argued Arab rage against Israel was disproportionate to other tragedies or injustices in the Muslim world, such as the Soviet invasion of Afghanistan and control of Muslim-majority land in Central Asia, the bloody and destructive fighting during the Hama uprising in Syria (1982), the Algerian Civil War (1992–1998), and the Iran–Iraq War (1980–1988).
In addition to his scholarly works, Lewis wrote several influential books accessible to the general public: The Arabs in History (1950), The Middle East and the West (1964), and The Middle East (1995). In the wake of the 11 September 2001 attacks, the interest in Lewis's work surged, especially his 1990 essay The Roots of Muslim Rage. Three of his books were published after 9/11: What Went Wrong? (written before the attacks), which explored the reasons of the Muslim world's apprehension of (and sometimes outright hostility to) modernization; The Crisis of Islam; and Islam: The Religion and the People.
Abraham Udovitch described him as "certainly the most eminent and respected historian of the Arab world, of the Islamic world, of the Middle East and beyond".
Armenian genocide
The first two editions of Lewis's The Emergence of Modern Turkey (1961 and 1968) describe the Armenian genocide as "the terrible holocaust of 1915, when a million and a half Armenians perished". In later editions, this text is altered to "the terrible slaughter of 1915, when, according to estimates, more than a million Armenians perished, as well as an unknown number of Turks". In this passage, Lewis argues that the deaths were the result of a struggle for the same land between two competing nationalist movements.
The change in Lewis's textual description of the Armenian genocide and his signing of the petition against the Congressional resolution was controversial among some Armenian historians as well as journalists, who suggested that Lewis was engaging in historical revisionism to serve his own political and personal interests.
Lewis called the label "genocide" the "Armenian version of this history" in a November 1993 interview with Le Monde, for which he faced a civil proceeding in a French court. In a subsequent exchange on the pages of Le Monde, Lewis wrote that while "terrible atrocities" did occur, "there exists no serious proof of a decision and of a plan of the Ottoman government aiming to exterminate the Armenian nation". He was ordered to pay one franc as damages for his statements on the Armenian genocide in Ottoman Turkey. Three other court cases against Bernard Lewis failed in the Paris tribunal, including one filed by the Armenian National Committee of France and two filed by Jacques Trémollet de Villers.
Lewis's views on the Armenian genocide were criticized by a number of historians and sociologists, among them Alain Finkielkraut, Yves Ternon, Richard G. Hovannisian, Robert Melson, and Pierre Vidal-Naquet.<ref>{{cite book|last1=Finkelstein|first1=Norman G.|title=The Holocaust Industry: Reflections on the Exploitation of Jewish Suffering|date=2003|publisher=Verso|location=London|isbn=978-1859844885|page=69}}</ref>
Lewis has argued for his denial stance that:
Lewis has been labelled a "genocide denier" by Stephen Zunes, Israel Charny, David B. MacDonald and the Armenian National Committee of America. Israeli historian Yair Auron suggested that "Lewis' stature provided a lofty cover for the Turkish national agenda of obfuscating academic research on the Armenian Genocide". Israel Charny wrote that Lewis's "seemingly scholarly concern ... of Armenians constituting a threat to the Turks as a rebellious force who together with the Russians threatened the Ottoman Empire, and the insistence that only a policy of deportations was executed, barely conceal the fact that the organized deportations constituted systematic mass murder". Charny compares the "logical structures" employed by Lewis in his denial of the genocide to those employed by Ernst Nolte in his Holocaust negationism.
Views and influence on contemporary politics
In the mid-1960s, Lewis emerged as a commentator on the issues of the modern Middle East and his analysis of the Israeli–Palestinian conflict and the rise of militant Islam brought him publicity and aroused significant controversy. American historian Joel Beinin has called him "perhaps the most articulate and learned Zionist advocate in the North American Middle East academic community". Lewis's policy advice has particular weight thanks to this scholarly authority. U.S. Vice President Dick Cheney remarked "in this new century, his wisdom is sought daily by policymakers, diplomats, fellow academics, and the news media".
A harsh critic of the Soviet Union, Lewis continued the liberal tradition in Islamic historical studies. Although his early Marxist views had a bearing on his first book The Origins of Ismailism, Lewis subsequently discarded Marxism. His later works are a reaction against the left-wing current of Third-worldism which came to be a significant current in Middle Eastern studies.
During his career Lewis developed ties with governments around the world: during her time as Prime Minister of Israel, Golda Meir assigned Lewis's articles as reading to her cabinet members, and during the Presidency of George W. Bush, he advised administration members including Cheney, Donald Rumsfeld and Bush himself. He was also close to King Hussein of Jordan and his brother, Prince Hassan bin Talal. He also had ties to the regime of Mohammad Reza Pahlavi, the last Shah of Iran, the Turkish military dictatorship led by Kenan Evren, and the Egyptian government of Anwar Sadat: he acted as a go-between between the Sadat administration and Israel in 1971 when he relayed a message to the Israeli government regarding the possibility of a peace agreement at the request of Sadat's spokesman Tahasin Bashir.
Lewis advocated closer Western ties with Israel and Turkey, which he saw as especially important in light of the extension of the Soviet influence in the Middle East. Modern Turkey holds a special place in Lewis's view of the region due to the country's efforts to become a part of the West. He was an Honorary Fellow of the Institute of Turkish Studies, an honor which is given "on the basis of generally recognized scholarly distinction and ... long and devoted service to the field of Turkish Studies."
Lewis views Christendom and Islam as civilizations that have been in perpetual collision since the advent of Islam in the 7th century. In his essay The Roots of Muslim Rage (1990), he argued that the struggle between the West and Islam was gathering strength. According to one source, this essay (and Lewis's 1990 Jefferson Lecture on which the article was based) first introduced the term "Islamic fundamentalism" to North America. This essay has been credited with coining the phrase "clash of civilizations", which received prominence in the eponymous book by Samuel Huntington. However, another source indicates that Lewis first used the phrase "clash of civilizations" at a 1957 meeting in Washington where it was recorded in the transcript.
In 1998, Lewis read in a London-based newspaper Al-Quds Al-Arabi a declaration of war on the United States by Osama bin Laden. In his essay "A License to Kill", Lewis indicated he considered bin Laden's language as the "ideology of jihad" and warned that bin Laden would be a danger to the West. The essay was published after the Clinton administration and the US intelligence community had begun its hunt for bin Laden in Sudan and then in Afghanistan.
Jihad
Lewis writes of jihad as a distinct religious obligation, but suggests that it is a pity that people engaging in terrorist activities are not more aware of their own religion:The fanatical warrior offering his victims the choice of the Koran or the sword is not only untrue, it is impossible. The alleged choice - conversion or death - is also, with rare and atypical exceptions, untrue. Muslim tolerance of unbelievers and misbelievers was far better than anything available in Christendom until the rise of secularism in the 17th century.
Muslim fighters are commanded not to kill women, children, or the aged unless they attack first; not to torture or otherwise ill-treat prisoners; to give fair warnings of the opening of hostilities or their resumption after a truce; and to honor agreements. At no time did the classical jurists offer any approval or legitimacy to what we nowdays call terrorism. Nor indeed is there any evidence of the use of terrorism as it is practiced nowadays.
The emergence of the by now widespread terrorism practice of suicide bombing is a development of the 20th century. It has no antecedents in Islamic history, and no justification in the terms of Islamic theology, law, or tradition.As'ad AbuKhalil, has criticized this view and stated: "Methodologically, [Lewis] insists that terrorism by individual Muslims should be considered Islamic terrorism, while terrorism by individual Jews or Christians is never considered Jewish or Christian terrorism."
He also criticised Lewis's understanding of Osama bin Laden, seeing Lewis's interpretation of bin Laden "as some kind of influential Muslim theologian" along the lines of classical theologians like Al-Ghazali, rather than "the terrorist fanatic that he is". AbuKhalil has also criticized the place of Islam in Lewis's worldview more generally, arguing that the most prominent feature of his work was its "theologocentrism" (borrowing a term from Maxime Rodinson) - that Lewis interprets all aspects of behavior among Muslims solely through the lens of Islamic theology, subsuming the study of Muslim peoples, their languages, the geographical areas where Muslims predominate, Islamic governments, the governments of Arab countries and Sharia under the label of "Islam".
Debates with Edward Said
Lewis was known for his literary debates with Edward Said, the Palestinian American literary theorist whose aim was to deconstruct what he called Orientalist scholarship. Said, who was a professor at Columbia University, characterized Lewis's work as a prime example of Orientalism in his 1978 book Orientalism and in his later book Covering Islam: How the Media and the Experts Determine How We See the Rest of the World (1981). Said asserted that the field of Orientalism was political intellectualism bent on self-affirmation rather than objective study, a form of racism, and a tool of imperialist domination. He further questioned the scientific neutrality of some leading Middle East scholars, including Lewis, on the Arab World. In an interview with Al-Ahram weekly, Said suggested that Lewis's knowledge of the Middle East was so biased that it could not be taken seriously and claimed "Bernard Lewis hasn't set foot in the Middle East, in the Arab world, for at least 40 years. He knows something about Turkey, I'm told, but he knows nothing about the Arab world." Said considered that Lewis treats Islam as a monolithic entity without the nuance of its plurality, internal dynamics, and historical complexities, and accused him of "demagogy and downright ignorance". In Covering Islam, Said argued that "Lewis simply cannot deal with the diversity of Muslim, much less human life, because it is closed to him as something foreign, radically different, and other," and he criticised Lewis's "inability to grant that the Islamic peoples are entitled to their own cultural, political, and historical practices, free from Lewis's calculated attempt to show that because they are not Western... they can't be good."
Rejecting the view that Western scholarship was biased against the Middle East, Lewis responded that Orientalism developed as a facet of European humanism, independently of the past European imperial expansion. He noted the French and English pursued the study of Islam in the 16th and 17th centuries, yet not in an organized way, but long before they had any control or hope of control in the Middle East; and that much of Orientalist study did nothing to advance the cause of imperialism. In his 1993 book Islam and the West, Lewis wrote "What imperial purpose was served by deciphering the ancient Egyptian language, for example, and then restoring to the Egyptians knowledge of and pride in their forgotten, ancient past?"
Furthermore, Lewis accused Said of politicizing the scientific study of the Middle East (and Arabic studies in particular); neglecting to critique the scholarly findings of the Orientalists; and giving "free rein" to his biases.
Stance on the Iraq War
In 2002, Lewis wrote an article for The Wall Street Journal regarding the buildup to the Iraq War entitled "Time for Toppling", where he stated his opinion that "a regime change may well be dangerous, but sometimes the dangers of inaction are greater than those of action". In 2007, Jacob Weisberg described Lewis as "perhaps the most significant intellectual influence behind the invasion of Iraq". Michael Hirsh attributed to Lewis the view that regime change in Iraq would provide a jolt that would "modernize the Middle East" and suggested that Lewis's allegedly 'orientalist' theories about "what went wrong" in the Middle East, and other writings, formed the intellectual basis of the push towards war in Iraq. Hirsch reported that Lewis had told him in an interview that he viewed the 11 September attacks as "the opening salvo of the final battle" between Western and Islamic civilisations: Lewis believed that a forceful response was necessary. In the run up to the Iraq War, he met with Vice President Dick Cheney several times: Hirsch quoted an unnamed official who was present at a number of these meetings, who summarised Lewis's view of Iraq as "Get on with it. Don't dither". Brent Scowcroft quoted Lewis as stating that he believed "that one of the things you’ve got to do to Arabs is hit them between the eyes with a big stick. They respect power". As'ad AbuKhalil has claimed that Lewis assured Cheney that American troops would be welcomed by Iraqis and Arabs, relying on the opinion of his colleague Fouad Ajami. Hirsch also drew parallels between the Bush administration's plans for post-invasion Iraq and Lewis's views, in particular his admiration for Mustafa Kemal Atatürk's secularist and Westernising reforms in the new Republic of Turkey which emerged from the collapse of the Ottoman Empire.
Writing in 2008, Lewis did not advocate imposing freedom and democracy on Islamic nations. "There are things you can't impose. Freedom, for example. Or democracy. Democracy is a very strong medicine which has to be administered to the patient in small, gradually increasing doses. Otherwise, you risk killing the patient. In the main, the Muslims have to do it themselves."
Ian Buruma, writing for The New Yorker in an article subtitled "The two Minds of Bernard Lewis", finds Lewis's stance on the war difficult to reconcile with Lewis's past statements cautioning democracy enforcement in the world at large. Buruma ultimately rejects suggestions by his peers that Lewis promotes war with Iraq to safeguard Israel, but instead concludes "perhaps he loves it [the Arab world] too much":
Hamid Dabashi, writing on 28 May 2018, in an article subtitled "On Bernard Lewis and 'his extraordinary capacity for getting everything wrong'", asked: "Just imagine: What sort of a person would spend a lifetime studying people he loathes? It is quite a bizarre proposition. But there you have it: the late Bernard Lewis did precisely that." Similarly, Richard Bulliet described Lewis as "...a person who does not like the people he is purporting to have expertise about...he doesn’t respect them, he considers them to be good and worthy only to the degree they follow a Western path". According to As'ad AbuKhalil, "Lewis has poisoned the Middle East academic field more than any other Orientalist and his influence has been both academic and political. But there is a new generation of Middle East experts in the West who now see clearly the political agenda of Bernard Lewis. It was fully exposed in the Bush years."
Alleged nuclear threat from Iran
In 2006, Lewis wrote that Iran had been working on a nuclear weapon for fifteen years. In August 2006, in an article about whether the world can rely on the concept of mutual assured destruction as a deterrent in its dealings with Iran, Lewis wrote in The Wall Street Journal about the significance of 22 August 2006 in the Islamic calendar. The Iranian president had indicated he would respond by that date to U.S. demands regarding Iran's development of nuclear power. Lewis wrote that the date corresponded to the 27th day of the month of Rajab of the year 1427, the day Muslims commemorate the night flight of Muhammad from Jerusalem to heaven and back. Lewis wrote that it would be "an appropriate date for the apocalyptic ending of Israel and, if necessary, of the world". According to Lewis, mutual assured destruction is not an effective deterrent in the case of Iran, because of what Lewis describes as the Iranian leadership's "apocalyptic worldview" and the "suicide or martyrdom complex that plagues parts of the Islamic world today". Lewis's article received significant press coverage. However, the day passed without any incident.
Death
Bernard Lewis died on 19 May 2018 at the age of 101, at an assisted-living care facility in Voorhees Township, New Jersey, twelve days before his 102nd birthday.
He is buried in Trumpeldor Cemetery in Tel Aviv.
Bibliography
Awards and honors
1963: Elected as a Fellow of the British Academy
1978: The Harvey Prize, from the Technion – Israel Institute of Technology, for "his profound insight into the life and mores of the peoples of the Middle East through his writings"
1983: Elected to the American Academy of Arts and Sciences
1990: Selected for the Jefferson Lecture by the National Endowment for the Humanities
1996: Finalist for the National Book Critics Circle Award in General Nonfiction, for The Middle East (Scribner)
1999: National Jewish Book Award in the Israel category for The Multiple Identities of the Middle East 2002: The Thomas Jefferson Medal, awarded by the American Philosophical Society
2002: Atatürk International Peace Prize on grounds that he contributed extensively to history scholarship with his accurate analysis of Turkey’s and in particular of Atatürk’s positive impact on Middle Eastern history.
2004: Golden Plate Award from the American Academy of Achievement
2006: National Humanities Medal, from the National Endowment for the Humanities
2007: Irving Kristol Award, from the American Enterprise Institute for Public Policy Research
2007: The Scholar-Statesman Award from The Washington Institute for Near East Policy
See also
Bernard Lewis bibliography
List of Princeton University people
References
External links
Lewis's page at Princeton University
Revered and Reviled – Lewis's profile on Moment Magazine''
The Legacy and Fallacies of Bernard Lewis by As`ad AbuKhalil
1916 births
2018 deaths
20th-century American historians
20th-century British historians
20th-century British writers
21st-century American historians
21st-century American male writers
21st-century British historians
21st-century British writers
Academics of SOAS University of London
Alumni of SOAS University of London
American centenarians
American historians
American male non-fiction writers
American people of English-Jewish descent
Deniers of the Armenian genocide
British Army personnel of World War II
English centenarians
British emigrants to the United States
English historians
English Jews
Fellows of the British Academy
Historians of Islam
Historians of the Ottoman Empire
Honorary members of the Turkish Academy of Sciences
Institute for Advanced Study visiting scholars
Intelligence Corps soldiers
Islam and antisemitism
Islam and politics
Jewish American historians
Jewish scholars
Jewish scholars of Islam
Men centenarians
Middle Eastern studies in the United States
National Humanities Medal recipients
Neoconservatism
People from Stoke Newington
British political commentators
Princeton University faculty
Royal Armoured Corps soldiers
Scholars of antisemitism
University of Paris alumni
Cornell University faculty
Foreign Policy Research Institute
Historians of the Middle East
Carnegie Council for Ethics in International Affairs
Middle Eastern studies scholars
Burials at Trumpeldor Cemetery
21st-century American Jews
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"\"What Else Is There?\" is the third single from the Norwegian duo Röyksopp's second album The Understanding. It features the vocals of Karin Dreijer from the Swedish electronica duo The Knife. The album was released in the UK with the help of Astralwerks.\n\nThe single was used in an O2 television advertisement in the Czech Republic and in Slovakia during 2008. It was also used in the 2006 film Cashback and the 2007 film, Meet Bill. Trentemøller's remix of \"What Else is There?\" was featured in an episode of the HBO show Entourage.\n\nThe song was covered by extreme metal band Enslaved as a bonus track for their album E.\n\nThe song was listed as the 375th best song of the 2000s by Pitchfork Media.\n\nOfficial versions\n\"What Else Is There?\" (Album Version) – 5:17\n\"What Else Is There?\" (Radio Edit) – 3:38\n\"What Else Is There?\" (Jacques Lu Cont Radio Mix) – 3:46\n\"What Else Is There?\" (The Emperor Machine Vocal Version) – 8:03\n\"What Else Is There?\" (The Emperor Machine Dub Version) – 7:51\n\"What Else Is There?\" (Thin White Duke Mix) – 8:25\n\"What Else Is There?\" (Thin White Duke Edit) – 4:50\n\"What Else Is There?\" (Thin White Duke Remix) (Radio Edit) – 3:06\n\"What Else Is There?\" (Trentemøller Remix) – 7:42\n\"What Else Is There?\" (Vitalic Remix) – 5:14\n\nResponse\nThe single was officially released on 5 December 2005 in the UK. The single had a limited release on 21 November 2005 to promote the upcoming album. On the UK Singles Chart, it peaked at number 32, while on the UK Dance Chart, it reached number one.\n\nMusic video\nThe music video was directed by Martin de Thurah. It features Norwegian model Marianne Schröder who is shown lip-syncing Dreijer's voice. Schröder is depicted as a floating woman traveling across stormy landscapes and within empty houses. Dreijer makes a cameo appearance as a woman wearing an Elizabethan ruff while dining alone at a festive table.\n\nMovie spots\n\nThe song is also featured in the movie Meet Bill as characters played by Jessica Alba and Aaron Eckhart smoke marijuana while listening to it. It is also part of the end credits music of the film Cashback.\n\nCharts\n\nReferences\n\n2005 singles\nRöyksopp songs\nAstralwerks singles\nSongs written by Svein Berge\nSongs written by Torbjørn Brundtland\n2004 songs\nSongs written by Roger Greenaway\nSongs written by Olof Dreijer\nSongs written by Karin Dreijer",
"The Else Kröner-Fresenius Foundation (Else Kröner-Fresenius-Stiftung in German, or EKFS), founded in 1983, is a non-profit foundation dedicated to the support of medical research and medical-humanitarian development projects.\n\nHistory \nElse Kröner (born in Fernau, 1925–1988) took over The Fresenius Company in 1946 after the death of her mentor and foster father Eduard Fresenius. Kröner led the company until her death in 1988, first as managing director and from 1982 as chair of the board.\n\nTo provide continuity in the event of her death and to cultivate the memory of Eduard Fresenius, Else Kröner founded the Else Kröner-Fresenius-Foundation on 7 April 1983. Initially the foundation was provided with a capital stock of 50,000 deutschmarks. Kröner decreed that in the event of her death all her personal assets should be transferred to the foundation.\n\nOn 5 June 1988, Else Kröner died unexpectedly, at the age of 63 years.\n\nPurpose of the Foundation \nIn her will, Else Kröner laid out the foundation's purpose:The Foundation aims to promote medical science, giving priority to the areas of research and the treatment of diseases, including the development of equipment and preparations, such as artificial kidneys . The foundation may support only those research projects whose results are accessible to the general public. The foundation also aims to promote the training of medical professionals, primarily in the field of dialysis, and the promotion of education of especially talented students.\n\nActivities \nThe main focus of the Else Kröner-Fresenius Foundation is financing clinically-oriented biomedical research. Research proposals from all fields of medicine are considered. As of 2016, roughly 1300 projects have been funded, totaling over 200 million euros. It is one of the largest private foundations in Germany.\n\nElse Kröner Memorial scholarships \nIn 2002, the Foundation awarded the first of two scholarships. Due to high demand and the high quality of applications since 2007, the foundation has awarded five scholarships every year.\n\nScience awards \nThe Foundation grants or supports various scientific prizes, including the Else Kröner-Fresenius Immunology Award and the Else Kröner Memorial Award of the German Interdisciplinary Association for Intensive and Emergency Medicine.\n\nWinner of the first-ever Else Kröner-Fresenius Award in Immunology was Ruslan Medzhitov, in 2013. This prize is handed out every four years and is worth 4 million euros, 500,000 of which goes directly to the researcher, with the remainder being project-directed.\n\nEducational initiatives \nThe Else Kröner-Fresenius Centre for Nutritional Medicine was founded in 2003 at the Technical University of Munich.\n\nThe Graduate School for \"Translational Research Innovation – Pharma\" (TRIP) was founded by the EKFS at the Goethe-University Frankfurt in 2012.\n\nReferences\n\nExternal links\n Website\n\nMedical and health organisations based in Hesse\nBad Homburg vor der Höhe\nBiomedical research foundations\nGerman medical research"
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